My week in New York

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Last week was extraordinary. I was in New York for the publication of The World Between Two Covers, the US edition of my book inspired by my year-long journey through a book from every country. There’s no way I could do justice to everything that happened in a single blog post, but here’s a rundown of some of the highlights.

The week started off with a reading and presentation at WORD, a very cool independent bookshop in Brooklyn. The store was a fitting location as that day was Independent Bookstore Day in the US, so it was great to be taking part in one of the events to mark that.

You can see me standing outside WORD in the photo above. Although the picture doesn’t really show it, the weather was glorious. I was worried that that might make it hard to persuade people to spend part of the afternoon sitting inside looking at my PowerPoint slides, but lots of people turned up. The WORD staff even had to put out more chairs.

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Monday May 4 was the official publication date (although the book was actually in many stores before that), so that day Steve and I went out for dinner with my lovely editor Elisabeth Kerr from Liveright/Norton and Sarah Levitt from ZPA, who is a partner agent with my UK agent, Caroline Hardman, and represented my book in the US.

It was great to spend more time with Elisabeth and meet Sarah in person as we have been in contact over email for many months. We got on very well and had lots to talk about – in fact Sarah and I met for coffee later in the week and spent a good hour and a half talking solidly about books.

As if treating me to dinner wasn’t enough, the next day Elisabeth arranged for me to meet and have lunch with a number of people from the Norton team. Again, it was an opportunity to put faces to the names of many people I have been in touch with remotely since Norton bought the book in August last year. I was also delighted to make the acquaintance of Bob Weil, publishing director of Liveright/Norton, who has worked on some incredible projects over his illustrious career.

That evening saw me speaking at Book Culture on W 112th Street in Manhattan. Once again, there was a lovely encounter – this time with Ana Cristina Morais, one of the volunteers who translated a book for me to read from São Tomé and Príncipe back in 2012. I was thrilled to meet Ana at last, as you can see from the photo below.

Ana Cristina

Wednesday brought a change of direction. I met with the team at Bloomsbury, including publishing director George Gibson, who will be publishing my novel Beside Myself  in the US next year, in tandem with Bloomsbury’s UK team. It felt strange to switch from talking about world literature to talking about fictional swapped identical twins, but everyone quickly made me feel at home. Afterwards, I had lunch with my Bloomsbury US editor, Lea Beresford, and the two of us got on like a house on fire – so much so that I’m afraid I made Lea late for her afternoon presentation as we were enjoying talking so much.

Thursday was my last full day in the city, but even that didn’t go by without some book business, this time in the shape of chats about ideas with some of the Norton team, including publicist Cordelia Calvert. Cordelia is already doing a great job because on Friday, just before I left New York, the hugely popular magazine Entertainment Weekly hit the newsstands, featuring The World Between Two Covers on its Must List. You can see the piece below in all its glory in the copy I picked up at Penn Station on my way to the airport – a fabulous end to the trip.

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Thanks to Ana and Steve for the pictures.

US publication day

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It’s official: The World Between Two Covers is published in the US. Huzzah!

To celebrate the occasion, Steve and I returned to Coney Island’s Steeplechase Pier in New York this morning to restage the photo at the top of this blog. That original snap was taken in January 2012, a few days after I’d embarked on my quest to read a book from every country in a year.

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Today, the weather is rather nicer, the boardwalk has been refurbished and my hair is longer. Oh, and the books I’m reading have changed too…

IMG_9193Photos by Steve Lennon

Book signing in Covent Garden

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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

My next book

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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.

Book of the month: José Luandino Vieira

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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).

Reading the World: the movie

Well, not quite a movie. But a close second. This is the author film made for me by the excellent production company Vloop.

The idea is to give a little flavour of what Reading the World: Confessions of a Literary Explorer is like and how it’s different from the blog. At the end, there are links to three very short extra videos about some of the highlights from that extraordinary year, as well as the film of the shelf piling up with books. I hope you like it.

Seeing the finished film is a great end to what’s already been a very exciting week. In the past few days, the book’s first review has been published and I visited the Guardian newspaper’s offices to record a podcast – to be released soon.

There are lots more things to come in the next few weeks as we build up to the UK publication day (or pub date, as I’ve learned it’s called in the industry) of February 5, 2015. Watch this space.

The finished book

Finished book

A package came last night. This was inside. It’s the UK edition of the finished book, the book that so many of you helped make happen.

If you look closely, you can just spot me peeking up from the author photo on the inside back cover. You can’t see it from here, but I am grinning in that photo almost as much as I am now.

Roll on the UK publication date of February 5, 2015!

Proofs!

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Yesterday, I got an email from my UK editor, Michal Shavit at Harvill Secker/Random House. She said the uncorrected proofs of Reading the World had arrived.

Unable to be in the same city as my book without holding a copy in my hands, I made a detour on my way to visit a friend and stopped off at Random House in Pimlico. This little pile of beauties was waiting for me – six of only 80 produced to be sent out to journalists and reviewers in advance of publication next year. They’re not finished – there are still some proofreading things to catch and one or two loose ends to tie up – but they are pretty close, a sort of dress rehearsal for how the book will be.

I stuffed them into my trusty Daunt Books bag and scurried off, eager to have a good look. Over the next few days I’ll be combing through the pages and going over the queries from the proofreader to try to catch any last slips and typos before it all goes to press for the final time.

There’s a lot to do before it’s finally put to bed, but this is definitely a proud moment. Hard to believe it all started with a 300-word blog post asking for help from the world’s readers almost exactly three years ago today

Book of the month: Shanta Gokhale

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Those of you who followed this blog during my year of reading the world in 2012 may remember the difficulty I had choosing a book to read from India. With such a wealth of stories available from this nation of 1.2 billion people, it seemed impossible to find a way to select just one for my project.

Luckily for me, the dilemma was solved when Indian writer Suneetha Balakrishnan stopped by the blog and observed that all the recommendations I’d had were for books written in English, and that there was a huge amount of even better literature written her nation’s 22 other official languages – not to mention the many unofficial tongues also spoken there. On the strength of Suneetha’s comments, I chose a book by one of her favourite authors, MT Vasudevan Nair, who writes in Malayalam. As you can see from the post I wrote at the time, it proved to be a great decision.

All the same, I remember being frustrated that I couldn’t explore more Indian literature in translation during that year. It seemed that there was a rich variety of amazing stories that we English-language speakers rarely if ever hear about.

So I was delighted to hear from Suneetha this summer that she has been blogging for women’s writing magazine Mslexia about Indian literature written in languages other than English. In celebration of this (and because I enjoyed her previous recommendation so much), I decided to feature one of the novels she has reviewed as my September Book of the month.

I plumped for Crowfall by Shanta Gokhale. This was partly because of Suneetha’s enthusiasm for the book, which you can read about on her post, and partly because I was intrigued by the process the novel went through to get into my hands. Not only did Ghokale write the original version in Marathi, she also translated it into English herself. I was intrigued to see how it had turned out.

Crowfall is a big and ambitious book. It weaves together the experiences of three painters, a musician, a journalist, a teacher and the widowed mother of two of them in Mumbai. Recording their struggles as they attempt to define their careers, themselves and one another – and overcome their grief at a series of untimely deaths and a loved one’s disappearance – it uses individual lives as a prism through which to look at large questions of identity, prejudice, the caste system and what we mean when we talk about art.

Though the premise might be tricky to unpick, the language certainly isn’t. Gokhale has worked as a translator during her career and her facility with words shines through in the beautiful clarity of her sentences. Time and again, succinct phrases capture complex ideas and emotions. From writing about the experience of being crushed between passengers on a bus ‘like chutney in a sandwich’ and describing an extreme method for dealing with Eve-teasing, to a skilful elucidation of the way performances based on raags (melodic modes) work in Hindustani music, Gokhale brings us along with her, by dint of her clear, compelling voice.

This linguistic precision makes the discussion of many of the larger issues that pepper the narrative a joy to read. I particularly liked the exploration of what constitutes art in the book, which is accompanied by many insightful descriptions of what it is like to be caught up in the creative process, such as this one:

Creative ideas are like that. You don’t plead with them to come. You pretend you can live happily without them. Then they steal upon you like thieves. Just be alert to grab them by the hair.

Gokhale’s portrayals of the experience of consuming art (as well as the platefuls of delicious-sounding food served throughout the book) are similarly eloquent – no mean feat, as many writers fail miserably when faced with conjuring up what it is like to look at a colourful, urgent painting in flat, grey words.

With such a large cast of central characters and numerous peripheral figures, the book can be confusing at times. This isn’t helped by Gokhale’s decision to leave considerable amounts of dialogue unattributed, so that you can find yourself confronted with long stretches of sentences in speech marks, wondering who said what. In addition, the numerous philosophical discussions – though skilfully rendered – slow the narrative down. There are times when you get the sense that Gokhale is much more interested in evoking experiences and exploring ideas than telling a story.

For all that, though, this is a marvellous read. As intricate as a performance of a raag, it intertwines experiences, lives and cultural specificities to create a powerful and thought-provoking – if sometimes dissonant – whole. Once again, like MT’s work, it provides a tantalising taste of the banquet Indian writers working in languages other than English have prepared.

Crowfall (Tya Varshi [That Year]) by Shanta Gokhale, translated from the Marathi by Shanta Gokhale (Penguin Books India, 2013)

US book deal with Norton

Celebration near Ground Zero

The last month or so has been a strange time for me. On the one hand, there was the euphoria of getting to the end of the stack of edits I showed you on the penultimate draft of Reading the World and knowing that the book I’d been writing on and off for 18 months was done. But on the other, there was the knowledge that this meant I was entering a whole new phase of the publishing process with challenges of its own.

For me, finding out whether the book would get a publisher in the US was top of the pile. With the manuscript finished, Sarah Levitt at the Zoë Pagnamenta Agency in New York (who often works with my agent Caroline Hardman in the UK) was able to swing into action, pitching the project to editors Stateside.

A nervous wait ensued. I tried not to think about it too much. I reminded myself that it’s rare for a British debut author to get taken on in the US, where publishers have their pick of tens of thousands of homegrown wordsmiths. And I consoled myself with the thought that, whatever happened, my book was going to be published in the UK in early 2015 by Harvill Secker/Random House – and that was far more than I had ever dreamed would happen when I first embarked on the madcap adventure of reading a book from every country in the world in a year. A deal in the US would be the icing on the cake, I told myself.

But the truth was, no matter how sanguine I tried to be about it, I cared very much about whether or not the book would come out in America. Having spent the first few weeks of my Year of Reading the World in the States (the picture at the top, in case you haven’t spotted it, was taken on the pier at Coney Island), I feel that the project has a particular connection with the place – several of the stories I read in those early stages were picked off the shelves at McNally Jackson. What’s more, given that over a third of total views of this blog have come from the US, I was keen to share the book with the nation that has been this venture’s most enthusiastic supporter.

So you can imagine my excitement when Sarah Levitt got in touch this week to confirm that we had a deal with editor Elisabeth Kerr at W.W. Norton & Co. The fact that the publisher is Norton and that the book will be coming out under its Liveright imprint (or trade name) makes the news all the sweeter – relaunched in 2012, Liveright sets out to publish ‘outstanding works that define and redefine our culture’. Its historic list is a literary hall of fame, with William Faulkner, Ernest Hemingway, Gertrude Stein, Bertrand Russell, Sigmund Freud and T.S. Eliot accounting for just some of its impressive names.

I was particularly delighted to discover that one of Liveright’s first publications after its relaunch was George Orwell’s Diaries. Orwell has always been a bit of a hero of mine and, like me, he started out as a sub-editor on British newspapers (although, much as I might like to think otherwise, the similarities between us probably end there).

The book is set to come out in the US in summer 2015 (probably in May, but I’ll let you know once the date is confirmed). However, if I thought my writing work on it was done, it turns out I can think again: Norton is publishing an anthology called Reading the World soon, so Elisabeth and I will need to think of another title for the US edition. Any suggestions gratefully received…

Photo by Jens Schott Knudsen

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