By Cathy Galvin
Hello friends
I think we are all aware of the concept of writing it slant, that wonderful phrase borrowed from American poet Emily Dickinson about perceiving form and concepts from unusual angles. Given life itself is far from straight or predictable, I hope you find something useful in this new monthly newsletter of slantish reflections, events and sharings.
First, a few words about Word Factory's friend Hanif Kureishi - a friend who gave great support to this fledgling short story organisation with time and encouragement when he didn't need to. If you aren't already reading him on Substack I would urge you to take a look and, most particularly, read from his astonishing body of work - fiction (including wonderful short stories), essays, plays, screenwriting - and his latest book, which grew out of his Substack writings, Shattered (Penguin). Some of you will be aware that a fall in 2022 left Hanif paralysed. You need to read his recent work to find out more. I will be in the audience for his interview at London’s the South Bank Centre on Thursday next week (31st October) and perhaps some of you will be there too. If you can't make it you might enjoy this BBC film made with Hanif's friend Nigel Williams.
And I hope you also enjoy this early Word Factory film (above) where Hanif and I are in conversation about writing. I apologise for any naive questioning on my own part in advance. You might also enjoy his reflections on the short stories of John Cheever:
In other news: I will soon be sending out details of a new short story club event on November 21st focused on Daphne Du Maurier. Perhaps it's because I now live so close to Bodmin Moor and Jamaica Inn that I have started to be drawn to her writing, perhaps because I want to read classic stories that don’t fit the mould of the currently literary-fashionable. Whatever the reason, I am glad to be reading her. Certainly more commercially successful than stories I might usually read and with a particular appeal to film-makers (think Don’t Look Now, The Birds and more), it’s easy to relish her psychologically dark, deft and surprising fiction.
Close to the moor, the poet and novelist Pascale Petit is finishing the proofs to her latest poetry collection inspired by this landscape, Beast (forthcoming Bloodaxe Books). I have just finished her debut novel, My Hummingbird Father (Salt), and urge you to take a look: a passionate reflection on love, abuse and the pursuit of art, the narrative combines compelling storytelling with a poetic and original approach to form.
And on Saturday November 16, I am delighted to be interviewing Ali Smith about her latest novel Gliff at the Folkestone Book Festival, curated by novelist, journalist (and associate director of the Word Factory) Sophie Haydock. Do take a look at the full, astonishingly rich programme and perhaps catch up with you there. Information here.
Look out for work by other Word Factory friends - a love of short stories is no barrier to working in longer fiction, poetry, or drama - and also let us know what you are up to.
First, Nilgin Yusuf’s debut play Nine Moons, exploring all-female rites of passage with a supernatural twist will be at both The Old Red Lion at Grim Fest (26 +27 October) and for three nights at The Lion & Unicorn in Kentish Town (29-31 October).
We are also delighted to learn that former Word Factory Apprenticeship Award winner Natalia Theodoridou (mentored by Courttia Newland) will be publishing her debut novel, Sour Cherry, with Tin House and Wildfire next year. More from Natalia soon.
To return to Hanif Kureishi for one moment. I have a copy of the Pen/Pinter Prize Lecture, Honouring The State, given by Hanif on being awarded that honour in 2010 The concluding sentence of what he wrote and spoke resonates and it seems fitting to say goodbye to you just here - with huge thanks to you for following:
And if we are not fighting for our own lives and, by extension, others' lives, what are we doing? A good question for anyone engaging in writing at any level.
Share this post