Last night the streets of St James' filled with carousings and calloocallays, for it was the night of the Costa Book Awards. The prize has been going for over forty years, and continues to shine lights on good books.
I was a judge on the Costa Children's Book Award this year, and took great pleasure in deciding the shortlist: Sarah Naughton's creepily excellent The Hanged Man Rises; Ross Montgomery's hilarious romp Alex, The Dog and the Unopenable Door; Chris Riddell's clever, charming Goth Girl and the Ghost of a Mouse; and Elizabeth Wein's moving Second World War saga, Rose Under Fire.
Champagne fizzed, canapés flowed (well, there were lots of canapés) and we were treated to mini-videos of all the authors who'd won their categories and were now up for The Big One, as it's known in the biz. There were lots of scenes of authors coming in and out of doors, and sitting down, and holding pens and looking moody, which, as an author, I can say is certainly what I spend a lot of time doing, particularly the latter two. (In fact I am absolutely sure that I'm sitting down, right at this very moment.)
Lucy Hughes-Hallett was interesting about her repellant subject, Gabriele D'Annunzio, the womanising poet-prince who "told the Nazis how to be Nazis." We also got a glimpse of Chris Riddell's writing shed, amongst other things. Poet Michael Simmons Roberts, who'd won the poetry category with his collection Drysalter, talked about his method: writing 15 lines - an almost sonnet - was enough for him. No rhyming couplets for Mr Simmons Roberts. Kate Atkinson said that whilst the premise of her novel, Life After Life, in which a woman, er, keeps living and dying all over again, each time subtly different, "annoyed" some readers; but her pleasure in it was enough to confound them.
Guests included the tv presenter Anneka Rice, whose programme, Challenge Anneka, I have fond memories of; novelists Amanda Craig & Raffaella Barker; writer Polly Samson and her husband, Pink Floyd member David Gilmour. I also spotted the actress Natascha McElhone looking all cheekbony and svelte. McCheekbone?
I will confess that I thought Lucy Hughes-Hallett was going to win it, hands bang down, but Nathan Filer got the gong (wearing a bright yellow tie) for his first novel, The Shock of the Fall, which draws on his experiences as a mental-health worker. It's a big trumpet for a debut, and I hope he goes on to great things.
Now, back to the coffee martinis.
Novelist and Reviewer: Author: The Other Book, The Liberators. The Darkening Path Trilogy: The Broken King, vol. 1; The King's Shadow, vol. 2, and The King's Revenge, vol. 3. The Double Axe, a retelling of the Minotaur story, and The Arrow of Apollo. How To Teach Classics to Your Dog published October 2020. Wildlord, publishing October 2021.
Wednesday, 29 January 2014
Thursday, 23 January 2014
Wasp Attack
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| Slinkachu |
WASP ATTACK
by Philip Womack
It
had been a long Wednesmonth, and we were nearing the middle of it. I’d managed
to persuade father and mother that we had almost enough food for the long dark
month that was coming up – and so Mindy and I were allowed out of the complex for a bit of fun.
We’d scrambled through the tunnels, and nodded to Paul the old porter.
“Coast is
clear,” he said, and grumpily opened up the gate for us. We stepped outside, I
holding my spear, and Mindy with her little catapult that she was just learning
how to use. It was a time of the month when the Nameless Ones seemed to be going
about their business in their weird buildings, and so it was relatively safe to venture into the black plain.
I needed to get out of the complex, anyway: all that darkness, all
that walking through tunnels.
Mindy
ran off immediately to the old lake, and started splashing about joyfully. I
scanned the vast black desert. There was nothing to be seen. I put down my
spear, and relaxed, breathing in the cold wind. It filled me with excitement.
I
could see all the way up to the stone wall, above which the Nameless Ones sometimes
trampled. There were the strange tall trees that didn’t put out leaves,
stretching up and up to the outer sky.
As
Mindy shrieked and yelped and splashed, I caught the scent of something – that odd, sweet-salty tang that meant some store of food was about. They were so
careless, the Nameless Ones, always discarding things that could feed us for
months.
I
looked about, and there it was. As big as the entrance hall to the King’s
chambers. A thick container resting against the stone wall, and it
was half full of the hard loaf that, despite its tastiness, the Nameless
Ones must hate, since they threw so much of it away.
Did
I have time to get it? I wondered. It was a fair few minutes’ hike. I saw
Mindy’s tiny figure wading about in the edges of the old lake and thought –
she’s old enough to take care of herself for a bit. That prize is good enough.
It’ll last the tribe for ages if I can drag one of those loaves back.
So
I picked up my metal spear, and set out across the black plain, past the yellow
road that ran in double lines, that led to the centre of the Nameless Ones’
city, a place so terrifying we never went there. I scrambled over boulders,
keeping the smell of the loaves in my nostrils. I was salivating. I began to
feel adventurous. I imagined the scene: sweating, dirtied and bloodied, I would
heave the loaf into the complex, and be met with the praise due to a returning
warrior, and the King’s daughter would smile at me and maybe later we would
dance.
The
smell was almost overpowering now. I was nearly there. I caught Mindy’s happy
squealing on the wind. High above me towered layer upon layer of the thick,
crunchy loaf. I considered the prospect. I’d be able, if I tried, to pull one
out from near the middle. I grabbed hold of its thick edge – my hands smarting
from the sharp white rocks of salt that covered it – and began to pull.
Then
I heard it. Mindy. She wasn’t yelling with joy. That was fear – worse, horror.
I whipped round and saw Mindy splashing as fast as she could out of the old
lake.
Whirring
angrily above her, its heavy wings clashing, its vicious weapons glinting, and
its eyes, its hideous eyes, was that terror of the plains, in all its black and
gold striped glory.
I
ran. What else was there to do? I left behind the prize, my tribe’s sustenance.
I sprinted over the black desert, waving my spear angrily. The monster was
making long, lazy circles around Mindy. She looked so small and frightened, she
might have been a doll.
“Help!” she screamed. “Garmond, help!” She
took shelter behind a boulder. The monster spun its cruel circle, and I took
aim. Mindy yelled. I hurled the spear with all my might, hoping it would reach its target.
“Run!”
I cried. It didn't seem to take any time at all, and yet it felt like forever. I watched as my spear hit the thing sideways, not piercing its armour. It wobbled, knocked a little off course. Mindy was running
back to the gate. The noise had caused the porter to open it, and he was
peering out anxiously. Mindy neared the entrance.
Weaponless,
I ran, the monster’s fearsome buzz filling the skies. My sister’s face, white,
staring at me. The porter’s mouth, open. His arms outstretched. The shadow of
the monster on the plain. I tripped, and fell, and rolled over onto my back,
and saw the creature, its sharp sting extended, making straight for me.
Death.
I closed my eyes. What would it mean? We all lived out through the months, from
the Moon’s to the Sun’s, seven months a year. Some of us lived to 120 or so.
I’d reached 24. I had so much left to live.
I
braced myself. The noise was too much. I heard the monster’s wings, and I heard
it preparing to strike.
And
then a thump. A thud.
The whirring stopped, and a low buzzing, fitfull and quiet, replaced it.
I opened my eyes.
The whirring stopped, and a low buzzing, fitfull and quiet, replaced it.
I opened my eyes.
The
monster was on its side, a gash leaking out some horrible liquid. It was twitching, angrily. But it was dying. My sister was
waving me in. She’d shot the beast with her catapult, and the porter had followed it with a spear. I cried out my thanks.
They
carried me inside. That night, at the feast, I caught the eye of the
princess, and she smiled at me: the boy who’d faced a monster, and lived.
Labels:
children's fiction,
fiction,
first story,
short story
Friday, 3 January 2014
Books of the Year for 2013
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| Parade's End: still enthralling |
Otherwise, I've been continuing to read Peter Dickinson, discovering his Changes trilogy , in which Merlin returns to England, casting a spell over the whole island. Ford Madox Ford's Parade's End series has held me in thrall; I've the final book in the sequence to finish this coming year. I've also been catching up on Hilary Mantel, Don DeLillo, and the two Fitzgeralds, Penelope and F Scott. Those early Mantel novels are darkly, acidly wonderful; Don DeLillo's prose is a thing of chiselled, crazy beauty; Penelope Fitzgerald I could rave over for days; but I must admit to being a little disappointed with F Scott's first novel. It had moments of mercurial brilliance, though, and is still worth looking at.
I can heartily recommend reading Shakespeare on your iPhone - for some reason, the plays seem to fit the screen very nicely.
Fiction
My two favourite novels of the year were both clever and playful takes on fiction and writing. First Novel by Nicholas Royle saw an extremely unreliable narrator's past come to light in gripping fashion.
Strange Bodies by Marcel Theroux was a highly enjoyable sci-fi-ish romp containing enough golems, Dr Johnson references and layers of narrative to keep anyone happy.
I also enjoyed the return of Nigel Williams, with Unfaithfully Yours, a witty and dark epistolary novel; and John Harwood's The Asylum was a welcome addition from the Gothic master. Neil Gaiman's selection of fantastical stories, Unnatural Creatures, introduced me to many writers I hadn't come across before - in particular, Peter S Beagle, whose story about a bored aristocrat inviting Death to her ball was both moving and beautiful.
Anna Stothard's third novel, The Art of Leaving,
is a well-textured, finely-organised thing: evocative of damp, dirty
Soho, it tells the story of a girl who can't stay with men. Her
fantasies and her growing suspicions are played out amongst a
wonderfully-realised London. And, although it didn't come out this year, I was pleased to discover Benjamin Wood's The Bellwether Revivals - a mightily accomplished first novel, set in Cambridge, which manages to avoid all the usual Oxbridge novel clichés and is both well-constructed and involving.
Also recommended is a little experiment: Paul Griffiths' Let Me Tell You (2008), which takes the words of Ophelia in Hamlet and makes something original and strange out of them. (I came across a mention of it in a review by Adam Mars-Jones in the London Review of Books this August.)
Non fiction
The Real Jane Austen by Paula Byrne is a lively reappraisal of the novelist, putting her into the wider context of her time; C S Lewis: A Life by Alister McGrath was a little dry, but very good on explaining the importance of Christianity in Lewis' works. Horace and Me by Harry Eyres was a memoir-cum-homage to the poet with its own elegance and wit.
Poetry
The only (new) volume of poetry I've read this year is Robin Robertson's Hill of Doors; it is a thing of light and wonder.
Children's Books
I've done several children's book round ups this year, not to mention judging the Costa Children's Book award, so I will only mention one that I thought should get more attention: Ann Kelly's Runners, published by Luath Press: a carefully-wrought account of a post-apocalyptic Britain.
Labels:
book list,
books,
books of the year,
literature,
marcel theroux,
nicholas royle,
review
Tonke Dragt's The Letter for the King: review
Hello, and Happy New Year! I've reviewed Tonke Dragt's children's classic, The Letter for the King, for The Guardian. Read it here.
Labels:
children's book,
review,
the guardian,
tonke dragt
Thursday, 19 December 2013
Telegraph Christmas Day iPad edition extract of THE BROKEN KING
Some lovely Christmas news: The Telegraph are going to run an extract from my new book, THE BROKEN KING, in their Christmas Day iPad edition. Look out for it.
To the left is a picture of Childe Roland, by Edward Burne Jones. THE BROKEN KING takes its cue from Browning's poem, "Childe Roland to the Dark Tower Came."
To the left is a picture of Childe Roland, by Edward Burne Jones. THE BROKEN KING takes its cue from Browning's poem, "Childe Roland to the Dark Tower Came."
Tuesday, 10 December 2013
Poor Miss Finch by Wilkie Collins: Blue men and blindness
I haven't read a Wilkie Collins since I was an adolescent; what with the new biography out this year, by Andrew Lycett, I found myself drawn to one of them which is rather more obscure than The Moonstone.Poor Miss Finch is unlikely to be found on many university reading lists, still less library shelves, and yet I think, despite its faults, it deserves a little attention because of its sheer weirdness, and because of the refreshingly dashing nature of its female characters (bar one). It was published in 1872 (some time after The Moonstone), and contains portraits of two of the most daring and adventurous Victorian heroines I've ever come across.
Miss Finch, far from being poor (therein lies the irony) is a woman of private means who lives in her own quarters in her father's rectory; the inhabitants of her rather dismal village term her "poor" because of her blindness. She, however, is a delightful creature, who thrills with sensitivity at the touch and sound of the things she encounters. She is clever, forceful, and brave enough to take matters into her own hand, standing up to her boorish father and organising her own destiny. Crucially, though, she has a hatred of dark colours (which she claims she can sense.)
The novel is narrated by a Madame Pratolungo - a Frenchwoman who spent her fortune fighting in various countries for Republicanism (no, really) - who ends up as a companion to Miss Finch (named, of course, Lucilla - little light.)
There are some extremely striking, not to say lurid scenes: a little girl arrives in the rectory with a message scrawled on her pinafore in blood; the hero, apparently weedy Oscar Dubourg, arrives shrouded in mystery - he's been let off a murder charge because of the evidence of a clock. More strange still is the plot which - bear with me - continues like this. Oscar Dubourg has a charismatic layabout artist twin brother, Nugent, who comes to stay and sponge; Oscar falls in love with Lucilla, and they make tentative moves towards marriage.
The crisis of the novel comes when Oscar develops epilepsy. In order to be cured, he embarks on a course of silver nitrates, which has the unfortunate effect of turning him blue. Since Lucilla hates dark complexions, when she hears one of the children asking where "the blue man is," everyone pretends that it's Nugent who's gone blue, not Oscar. And so the stage is set for an impersonation which will see Lucilla's virtue tested and Oscar's courage blossom.
The sensationalism of the plot kept me going: I will admit that some aspects of the latter parts of the novel began to drag a little - there was perhaps too much discussion about various minor matters, and there is a character, a gourmand oculist called Grosse, whose German-English expressions become immensely wearying - but on the whole, those who wish to understand how a complex plot can be manipulated, and to see the beginnings of the "weird" in our literature, should definitely take a look. And I won't mind if you skip the last few chapters.
Friday, 6 December 2013
Literary Review Children's Christmas Round Up
Yes, ladies and gentlemen, the December / January super-soaraway-bumper edition of Literary Review is out NOW, and in its already brimming pages you'll find my round up of children's books for Christmas, featuring:The Hanged Man Rises by Sarah Naughton,
Lockwood and Co by Jonathan Stroud,
Goth Girl and the Ghost of a Mouse by Chris Riddell,
The Dead Men Stood Together by Chris Priestley,
Close Your Pretty Eyes by Sally Nicholls,
Hello Darkness by Anthony McGowan,
How to Be Invisible by Tim Lott,
Rose Under Fire by Elizabeth Wein,
The Company of Ghosts by Berlie Doherty,
Hold Your Breath by Caroline Green,
Oliver and the Seawigs by Philip Reeve and Sarah McIntyre,
and Runners by Ann Kelley.
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