This Is How It Ends – Eva Dolan + Q&A

Ella looked away from the dead man’s body. Dead, she thought, but didn’t know, because she couldn’t bring herself to touch his skin again. She could feel the places where he’d touched her. Knew they would be bruises tomorrow, perfect impressions of fingerprints.

At a party celebrating reaching the crowdfunding target for her book, Ella kills a man. No one sees it happen. The flats where the party takes place are due to be knocked down, only six residents remaining. Ella’s part of a campaign to support the residents, protesting against the gentrification of the area, as high-rise tower blocks appear next door and all over London.

The only person Ella tells is her friend, and resident of the flats, Molly. At 60, Molly is a veteran campaigner and has witnessed her fair share of violence. Together, they move the body to the lift shaft and push it down. Molly cleans the flat where the incident has taken place, ensuring no traces of blood remain. She assumes that once the body’s discovered, the police won’t pay too much attention to a building marked for demolition.

Here the story diverges into two strands. The present-day section follows Molly’s first-person narrative as she and Ella wait for someone to discover the body and the police to arrive. Molly attempts to look after and manage Ella, scared that she will crumble under interrogation, while trying to continue as normal herself. She’s involved in a relationship with a younger man, Callum, who also lives in the flats, and she works as a photographer. One of her most famous shots is of Ella being beaten by a police office at student protest.

Ella’s narrative travels backwards, slowly revealing who she is and what she’s been through. Her story’s entwined with several men: Dylan, who she meets for sex; Quinn, a campaigner who prefers more violent methods of protest and has just been released from prison, and Sinclair, a journalist who’s writing a book on a history of the protest movement. Probably the most significant man in her life though is her father, ACC Alec Riordan.

In her first standalone novel, Dolan explores themes of protest, violence and female friendship. The feminist slant on the protest movement, looking at women’s involvement in a number of big campaigns including the miners’ strike, is an interesting and welcome one. Bar Greenham Common, much of women’s contribution to these events has been erased. The friendship between an older and younger woman is also significant. It’s rare to see this type of friendship depicted in literature, particularly taking such a central role.

This Is How It Ends is a triumph. Gripping, thoughtful, feminist; I loved it.

I’m delighted that Eva agreed to answer some question about the book and her work.

This Is How It Ends has two protagonists: Ella, who’s in her 20s, and Molly, who’s 60. What interests you about women’s stories and why did you choose to make your characters such different ages?

I’m interested in telling the stories of women who might be considered outside the mainstream, narratives which aren’t driven by marriage or motherhood or competing over lovers, because there are plenty of writers doing that already and doing a better job of it than I would. Specifically I wanted to write about intergenerational female friendships because they seem quite rare in fiction. Happy for recommendations if I’ve missed those books!

I suspect age gap friendships are quite scarce in real life as well, but I’m not sure why. I cherish the friendships I have with older women, they bring a different perspective and experience I simply don’t have, some are a steadying influence but some are much wilder than me; all of them are very similar to my mum, which is probably significant. I’m lucky enough to have a fierce and amazing mother who I’m very close to, and I think that’s why my fiction keeps coming back to characters who don’t have that great relationship and how the lack of it affects them.

I wanted to put all that stuff on the page.

Molly has lived the life she expects Ella to commit herself to and she believes she can help Ella live it better than she did by showing her all the pitfalls and essentially fast tracking her along with advice and contacts. Will Ella take that advice? Will she learn from Molly’s mistakes or repeat them? I also wanted to explore a proxy mother/daughter relationship, the kind you see with people who are bonded by profession or beliefs. Does it fall into the same patterns as a blood bond? Does social conditioning drive the parties into that familiar pattern because we don’t know any other way to conceive of intergenerational female friendship except through the lens of maternal instinct? That turned into quite a big theme of Molly and Ella’s relationship.

One of the themes of the novel is the idea of protest – historic ones such as Greenham Common and contemporary ones against gentrification. Why did you choose this as a central theme?

My earlier books have all been about individual outsiders or marginalised groups crushed by society and I suppose, in some small way, I wanted to write a more optimistic story this time around; individuals coming together to fight the system, solidarity in the face of overwhelming opposition. Also, it does feel like we’re experiencing a moment right now – from Occupy to Black Lives Matter to #MeToo – there’s revolution in the air. I can’t think of another point in my lifetime when protest has felt so necessary and so, maybe, hopefully, capable of prompting real and positive change.

Crime fiction prides itself that it operates on the bleeding edge of social issues and this is a development which has been crying out for attention for a good few years now. There are tiny hints towards it in the Zigic and Ferreira books – my way of alluding to something I was itching to write about – and this time I got to plunge headlong into it, writing about subjects which I couldn’t before; the social cleansing of our cities, the legacy of Greenham Common, the importance of direct action and the personal sacrifices people make to try and change the world for the better.

The novel has an interesting structure, Molly tells events from the discovery of the dead body to their conclusion, while Ella’s sections move backwards slowly revealing aspects of her past. Why did you decide to tell the story in this way and were there any challenges in the writing of it?

It’s not a spoiler to say that Ella is responsible for the dead body she and Molly hide. This Is How It Ends is as much a whydunnit as anything and I wanted to put the reader in a similar position to Molly – wondering if she did the right thing in helping Ella cover up her crime. So I decided we’d gradually unpeel Ella’s layers, just as Molly does, catching her out in small lies and then discovering the reason for each of them as her storyline unspools backwards. Without a hefty police strand in the book this seemed the best way to dig into Ella’s past and the events which brought her to that room with that corpse.

Honestly, there was a lot of swearing and hair pulling while I tried to make the two intertwining narratives work. It was important that they touch in lots of places to help the story stay clear and those moments of crossover were some of the first things I plotted. Once those big events were fixed fitting the rest of the plot in around them was a much more relaxed process.

This is the first time you’ve set a novel in London rather than Peterborough; why did you decide on the change?

It’s a subject I’ve wanted to explore for a few years but it felt like it needed a bigger setting than Peterborough and also wouldn’t work within the confines of a detective novel. London was the natural choice because the property market there is super charged, awash with money of dubious provenance and with developers seeming to operate with very little in the way of constraints from the various councils. The more research I did the more opaque it seemed; essentially lawless and massively damaging to a precarious working class population who are being put out of their homes to make way for ‘lock up and leave’ investment opportunities, as well as the young who are finding it impossible to get a foot on the property ladder. It’s also where the vast majority of protests are being mounted, so the natural setting.

This is your first standalone novel following four Zigic and Ferreira books. How did it feel to write something different?

Liberating! The police procedural genre is attractive because it comes with a fairly firm structure built into it – your detectives investigate a murder, you know roughly where you’re going before you even start to plan. But, after four books published and lots more written and stowed away in the drawer, I felt like I needed to push myself and see what I could achieve without that helpful skeleton in place.

I discovered that I really like being free from the constraints and from my series characters – sorry Zigic and Ferreira. With This Is How It Ends I got the opportunity to write lead characters who were more like me, who share my political beliefs and who were, finally, operating on the other side of the law. Laws, in this case, which are frequently unjust and stacked firmly against the people. That was hugely freeing.

What’s next? Are you working on anything you can tell us about?

I’m massively superstitious about discussing works in progress but I can say it’s another standalone, also set in London, but this time the political intrigue takes place at the other end of the social scale. It follows three women who are locked in a power struggle with each other and the system which they work within.

My blog focuses on women writers; what are your favourite books by women?

Ooh, so many! Edith’s Diary by Patricia Highsmith, Olive Kitteridge by Elizabeth Stout, Autumn by Ali Smith, The Blind Assassin by Margaret Atwood, NW by Zadie Smith, Shock Doctrine by Naomi Klein. The Driver’s Seat by Muriel Spark. Viper Wine by Hermione Eyre.

It’s only been the last few years that I’ve realised how my reading habits have skewed male and canonical ever since my teens, so I’m in the process of plugging the gaps in my reading right now.

Thanks to Eva Dolan for the interview and to Bloomsbury for the proof of the novel.

In the Media, February 2017

In the media is a fortnightly round-up of features written by, about or containing female writers that have appeared during the previous fortnight and I think are insightful, interesting and/or thought provoking. Linking to them is not necessarily a sign that I agree with everything that’s said but it’s definitely an indication that they’ve made me think. I’m using the term ‘media’ to include social media, so links to blog posts as well as as traditional media are likely and the categories used are a guide, not definitives.

I’ve been a bit lax at compiling these while I’ve focused on my own work. It means this month’s is huge and I haven’t honed in on any topic in particular as the news moves so fast at that moment it feels like an impossible task. Back to fortnightly after this which hopefully will make it slightly easier to digest.

 

On or about books/writers/language:

• Helen Dunmore, ‘Facing mortality and what we leave behind‘ in The Guardian
• Rosalind Jana, ‘Making Space: A Brief History of Literary Salons, Past and Present‘ on Constellation
• George Saunders, ‘Grace Paley, the Saint of Seeing‘ in The New Yorker
• Peternelle van Arsdale, ‘How I Learned to Stop Worrying About the Market and Just Write‘ on Literary Hub
• Lauren Elkin, ‘Flâneuse: Women Walk the City in Paris, New York, Tokyo, Venice, and London‘ on Longreads
• Varaidzo, ‘From school books to publishing, black girls deserve better representation‘ in the New Statesman
• Ruth Gilligan, ‘Write Like a Girl‘ on Read it Forward
• Francesca Simon, ‘Why I’m writing for World Book Day’ in The Guardian
• Lily Dunn and Zoe Gilbert, ‘We’re given only a handful of these kinds of friendships‘ on Something Rhymed
• Karolina Ramqvist, ‘Writer as Public Figure Vs. The Writer Who Actually Writes‘ on Literary Hub
• Catherine Mayer, ‘on Writing Attack of the Fifty Foot Women‘ on Waterstones Blog
• Yoojin Grace Wuertz, ‘Failure and Patience: Lessons from the Garden for Writers‘ on Literary Hub
• Claudia Roth Pierpoint, ‘Elizabeth Bishop’s Art of Losing‘ in The New Yorker
• Thomas Arnow, ‘Who was Harriette Arnow?‘ on the Penguin Blog
• Anjali Enjeti, ‘The Life and Legacy of Bharati Mukherjee‘ on Literary Hub
• Wei Ming Kam, ‘On the Carnegie, Bookshops and Melinda Lo’s Ash‘ on Gal-dem
• Kerry Clare, ‘Rereading Fear of Flying: On Not Being Pregnant in Mid-Air With Isadora Wing‘ in The Toronto Review of Books
• Susan Hill, ‘Can I be a serious writer, keeping such casual hours?’ in The Guardian
• Nell Zink, ‘Writing for Rejection, And reading Doris Lessing‘ on n+1
• Craig Hubert, ‘On the Many Film Adaptations of the “Unfilmable” Wuthering Heights‘ on Literary Hub
• Ilana Masad, ‘Queer children’s books have a long history that’s only now being told‘ in The Guardian
• Heather O’Neill, ‘Leaving It All on the Page‘ on The Walrus
• Cameron Glover, ‘A Soulful Novel and Me: On Zora Neale Hurston‘ on Catapult
• Maggie Harcourt, ‘Pages in Common‘ on Waterstones Blog
• Rebecca Traister, ‘Rereading The Handmaid’s Tale, One Month Into the Trump Era‘ in The Cut
• Julie Buntin, ‘On Making Things Up: Some True Stories About Writing My Novel‘ on Catapult
• Sarah Perry, ‘In praise of readability‘ in The TLS
• Joanna Cannon, ‘The Story Behind The Trouble with Goats and Sheep‘ on WHSmith Blog
• Lionel Shriver, ‘Dystopia in the next room‘ in The TLS
• Rafia Zakaria, ‘Carson McCullers at 100: a century of American suffering‘ in The Guardian
• Jo Hogan, ‘The Carnegie Medal: Time for a Review‘ on her blog
• Salamisha Tillet, ‘Free Is and Free Ain’t‘ on Public Books
• Morgan Jerkins, ‘The Forgotten Work of Jessie Redmond Fauset‘ in The New Yorker
• Emma Garman, ‘Trilby, the Novel That Gave Us ‘Svengali’‘ on Longreads
• Emily Cooke, ‘Pay to Play: A chronicle of wealth and class in the literary world‘ on Book Forum
• Aminatta Forna, ‘We must take back our stories and reverse the gaze‘ in The Guardian
• Sam Jones, ‘Retrieving an untold story: voices of Spanish female artists finally heard‘ in The Guardian
• Ulka Anjaria, ‘The Goddess of Loss‘ on Boston Review
• Dr. Florence Hazrat, ‘From The Taming of the Shrew to 10 Things I Hate About you: Taming Wild Women in European Culture‘ on Women Are Boring
• Laura Pritchett, ‘The Middle Ages‘ on Bloom
• Fiona Cummins, ‘How I went from Ms Showbiz reporting on celebrity parties to writing a chilling crime thriller‘ in the Daily Mirror
• Katy Waldman, ‘Is My Novel Offensive?‘ on Slate
• Tracy Chevalier, ‘There’s a febrile debate in Trump’s rustbelt. I want to be part of it‘ in The Guardian
• Sarah Ladipo Manyika, ‘What Virginia Woolf Forgot To Say‘ on Thrive Global
• Georgia Hunter, ‘We Were The Lucky Ones‘ on Waterstones Blog
• Rowan Hisayo Buchanan, ‘A Dyslexic’s Guide to Infinity‘ on The Rumpus
• Maria Russo, ‘Finding America, Both Red and Blue, in the ‘Little House’ Books‘ in The New York Times
• Miranda Emmerson, ‘Mixed-up thinking‘ on Bookanista
• Marta Bausells, ‘Warsan Shire and Beyoncé: Superheroes for Our Time‘ on Literary Hub
• Lisa Williamson, ‘Writing NON-romantic Love for Teens‘ on Foyles
• Alex Clark, ‘I’m no pussy when it comes to swearing‘ in The Guardian
• Rahawa Haile, ‘How Black Books Lit My Way Along The Appalachian Trail‘ on Buzzfeed
• Kate Mosse, ‘It’s never been more important to champion women’s voices‘ on The Pool
• Eva Dolan, ‘The Hierarchy of Victims in Crime Writing‘ on Foyles
• Roxane Gay, ‘The Full Text of ‘Bad Feminist’ Author Roxane Gay’s WI12 Speech‘ on Publishers Weekly
• Claire Fuller, ‘on the Isle of Purbeck, Dorset‘ on The Literary Sofa
• Scott Eposito, ‘Understanding America Through Marilynne Robinson‘ on Literary Hub
• Edwidge Danticat, ‘Poetry in a Time of Protest‘ in The New Yorker
• Laura Pritchett, ‘The Great West Has More Than One Story to Tell‘ on Literary Hub
• Sarah Churchwell, ‘‘It will be called Americanism’: the US writers who imagined a fascist future‘ in The Guardian
• Lucinda Rosenfeld, ‘What Was Chick Lit? A Brief History from the Inside‘ on Literary Hub
• Ela Bittencourt, ‘Poetry Thieves: Translating Hanna Krall and Ewa Lipska‘ on Words Without Borders

Personal essays/memoir:

• Rowan Hisayo Buchanan, ‘How Postcards from My Mother Helped Me Survive My Childhood‘ on Literary Hub
• Leah Carroll, ‘My Mother’s Murder‘ on The Cut
• Melissa Febos, ‘When Pursuing True Love Means Breaking Up With Your Best Friend‘ on Refinery29
• Catherine LaSota, ‘Changing Body, Changing Perceptions‘ on Catapult
• Anne Kniggendorf, ‘Gracie Allen and John Denver in Boot Camp‘ on Electric Literature
• Christine Hyung-Oak Lee, ‘Saving Chickens, Saving Myself‘ on Catapult
• Arianna Rebolini, ‘Learning to Cook After Relearning to Eat‘ on Catapult
• Gwen Werner, ‘Daddy Issues‘ on The Rumpus
• Clover Stroud, ‘Travelling alone as a woman was a way of owning my trauma‘ on The Pool
• Lynn Enright, ‘I don’t always know who I am – but that’s OK ‘ on The Pool
• Karen Brown, ‘From Imbibing Spirits to Spiritualist Mediums‘ on Literary Hub
• Erin Corber, ‘Vocabulary Lessons in Bucharest‘ on The Rumpus
• Elisa Gabbert ‘My Grandmother’s Little Room and the Unreality of Memory‘ on Pacific Standard
• Kaitlyn Greenidge, ‘Sacred Space: On visiting the National Museum of African American History and Culture, and facing the present‘ on Lenny
• Claire Handscombe, ‘Dance: On Ballet and Impossible Love‘ on Catapult
• Melissa Febos, ‘Reconciliation‘ on Lenny
• Sara Yasin, ‘Muslims Shouldn’t Have To Be “Good” To Be Granted Human Rights‘ on Buzzfeed
• Jowita Bydlowska, ‘Nobody Died‘ on Lenny
• Cass Cross, ‘The Men in My Office‘ on Catapult
• Sophie Warnes, ‘On the unbearableness of existence‘ on Medium
• Megan Margulis, ‘My Daughter’s Suburban Childhood Looks Nothing Like My Urban One‘ on The Cut
• Jessica Grose, ‘The Wait‘ on Lenny
• Marie Phillips, ‘One woman’s attempt to learn the language of love‘ on The Pool
• Allison Grimaldi-Donahue, ‘Translation Beyond Metaphor‘ on Electric Literature
• Sara Noviç, ‘When Good Christian Girls Need Planned Parenthood‘ on The Cut
• Rachel Klein, ‘Losing My Voice and Finding It‘ on Catapult
• Amna Saleem, ‘This Is What I Learned From My Father’s Depression‘ on Buzzfeed
• Lara Williams, ‘Talk to Me Baby‘ on Some Such Stories
• Eleanor Margolis, ‘From unnerving normality to toilet humour: the stages of my mum’s cancer diagnosis‘ in the New Statesman
• Rebecca Varkoe, ‘Let’s Talk About The Immense Privilege (And Struggle) Of Doing What You Love‘ on Junkee
• Patricia Lockwood, ‘A Childhood in the Pro-Life Movement‘ in The New Yorker
• Lorraine Berry, ‘Walking in Memphis‘ on Catapult
• Kathryn Schultz, ‘When Things Go Missing‘ in The New Yorker
• Irina Dumitrescu, ‘Swan, Late‘ on Longreads
• So Sad Today, ‘What if I Never Live My Best Life?‘ on Vice
• Lacy M. Johnson, ‘Trigger‘ in Guernica
• Candice Norwood, ‘When ‘Good Hair’ Hurts‘ in The Atlantic
• Lisa Mecham, ‘Under the Stars: Remaking a Family‘ on Catapult
• Christine Hyung-Oak Lee, ‘What It’s Like to Lose Your Short-Term Memory‘ on Longreads
• Andie Park, ‘Lessons‘ on Medium
• Laine Bruzek, ‘What Happens When Nothing Happens‘ on West Magazine
• Elle Nash, ‘Grief Lozenge‘ on The Fanzine
• Kim Schultz, ‘I fell in love with a refugee – here’s what I learned when the world didn’t love him too‘ on the New Statesman
• Rebecca Schuman, ‘Hello, Lenin? (Berlin, 1997)‘ on Longreads
• Alana Massey, ‘The Rotten, Precious Land‘ on Hazlitt
• Jonatha Kottler, ‘Fat in Every Language‘ in The Cut
• Alexandra Burt, ‘What Remains When Your First Language Fades Away‘ on Literary Hub
• Jen Gann, ‘I Love My Ugly Old Hands‘ on The Cut
• Melissa Febos, ‘Wunderkammer‘ in Vogue
• Bonnie Nadzam, ‘Experts in the Field‘ on Tin House
• Imbolo Mbue, ‘‘With every inch, the challenge multiplies’: me and my afro‘ in The Guardian
• Yemisi Aribisala, ‘People try to squeeze Nigerian food into an all-encompassing African label‘ in The Guardian
• Eileen Myles, ‘Aging Is Feminizing Me and I Hate It‘ in The Cut
• Stacey Dugid, ‘The skirt that gave me back my mojo‘ on The Pool
• Laurie Frankel, ‘When my son became my daughter, the transition was more routine than dramatic‘ in The Sydney Morning Herald
• Jaya Saxena, ‘Explaining My Multiracial Identity (So Others Don’t Do It For Me)‘ on Catapult
• Catherine LaSota, ‘Becoming an Artist and a Parent in NYC‘ on Catapult
• Cat Marnell, ‘How to Murder Your Life‘ on The Cut
• Kayla Rae Whitaker, ‘How I Learned To Date After Drinking‘ on Buzzfeed
• Jia Tolentino, ‘The Most American Thing‘ in The New Yorker
• Kuba Shand Baptiste, ‘It took me 17 years to fall in love with my black hair. Why?‘ on The Pool
• Eva Tenuto, ‘Feeling Unsafe at Every Size‘ on Longreads
• Lori Jakiela, ‘A Portrait of the Artist as a Bingo Worker‘ on Electric Literature
• Patricia Bosworth, ‘The Men in My Life‘ on Literary Hub
• Meghan Tear Plummer, ‘Real Life: My Sister, My Brother‘ in Glamour
• Tracy O’Neill, ‘A Scar Is Not a Story‘ on Catapult
• Laila Lalami, ‘Love and Betrayal in America‘ in The New Yorker

Feminism:

• Dayna Tortorici, ‘While the Iron Is Hot‘ in n+1
• Michelle Darmody, ‘From the heart: One woman’s experience of abortion‘ in the Irish Examiner
• Riyan Fergins, ‘Follow the Oil Trail and You’ll Find the Girls‘ on Longreads
• Anita Bhagwandas, ‘The true meaning of beauty is to celebrate our imperfections‘ on The Pool
• Tobi Oredin, ‘As a black woman, I’ve had to unlearn what beauty means to me‘ on The Pool
• Jennilie Brewster, ‘Frozen Ground: On Reporting a Statutory Rape Twenty Years Later‘ on Catapult
• Zoe Samudsi, ‘Remy, Nicki, And The White Feminist Optics Of Black Women’s Beefs‘ on Equality for Her
• Katie Booth, ‘People Mountain, People Sea‘ on Vela
• Deborah Orr, ‘Helen Bailey and the lethal darkness behind this ‘middle-aged woman’ myth‘ in The Guardian
• Carmen Maria Machado, ‘The Trash Heap Has Spoken‘ on Guernica
• E.J. Dickson, ‘Why Did Everyone Act Like I Was Crazy When I Decided to Have a Baby in My 20s?‘ in The Cut
• Jendella Benson, ‘Feminist love will save men too‘ on Media Diversified
• Eve Ensler, ‘Female Fighters Series Re-examines Women’s Rage Around the World‘ on Guernica
• Abbie, ‘It’s Time to Trash Body Positivity‘ on Bullshitist
• Nimmi Gowrinathan, ‘Of Monsters & Women‘ on Guernica
• Yas Necati, ‘As a queer woman I will be marching against Donald Trump this weekend – but for my disabled friends it won’t be that easy‘ in The Independent
• Jessica Valenti, ‘Calling pregnant women ‘hosts’? We’re in an anti-choice Republican dystopia‘ in The Guardian
• Suzanne Moore, ‘Women in public life are now being openly bullied. How has this become normal?‘ in The Guardian
• Jessa Crispin, ‘The Failures of Mainstream Feminism‘ on New Republic
• Sara Ahmed, ‘Smile!‘ on Feminist Killjoys
• Shannon Keating, ‘Can Lesbian Identity Survive The Gender Revolution?‘ on Buzzfeed
• Melissa Denes, ‘‘It’s always high drama. It’s somebody’s life at stake’: inside British rape trials‘ in The Guardian
• Megan Nolan, ‘If British abortion providers turn away Irish women, it will be catastrophic‘ in The Pool
• Glosswitch, ‘What Would Happen if the World’s Women Went on Strike?‘ in the New Statesman
• Andrea Penman-Lomeli, ‘Consuming la Malinche, Destroying the Myth‘ on The New Inquiry
• Jia Tolentino, ‘The Case Against Contemporary Feminism‘ in The New Yorker
• Nadine Ajaka, ‘The Casualties of Women’s War on Body Hair‘ in The Atlantic
• Amanda Hess, ‘How a Fractious Women’s Movement Came to Lead the Left‘ in The New York Times
• Naomi Alderman, ‘Utopian thinking: how to build a truly feminist society‘ in The Guardian
• Rebecca Traister, ‘The Future of the Left Is Female‘ in The Cut
• Sadie Hassler, ‘Three abortions‘ on Standard Issue
• Caroline O’Donoghue, ‘I may never be ready to stop saying “dude”‘ on The Pool

Society and Politics:

• Dana Snitzky, ‘The Ban, The Wall, Bearing Witness‘ on Longreads
• Hannah Black, ‘New World Disorder‘ on Art Forum
• Gaby Hinsliff, ‘The government can’t pledge support for mental illness – and then backtrack‘ on The Pool
• Elizabeth Weil, ‘The Curse of the Bahia Emerald‘ on Wired
• Claire Heuchan, ‘The parallels between Scottish nationalism and racism are clear‘ in The Guardian
• Tasbeeh Herwees, ‘Resistance In The Time Of Protest Selfies‘ on Good
• Teow Lim Goh, ‘On Borders and Citizens‘ on Catapult
• Gaby Hinsliff, ‘Labour can’t keep returning to its roots empty handed‘ in The Guardian
• Mehreen Kasana, ‘The Meaning of Allahu Akbar‘ on Hazlitt
• Rumana Ahmed, ‘I Was a Muslim in Trump’s White House‘ on The Atlantic
• Gabrielle Bellot, ‘M*lo Might Be Done, But His Transphobia Lingers‘ on Literary Hub
• Sarah Larson, ‘The Librarian of Congress and the Greatness of Humility‘ in The New Yorker
• Rachel Cusk, ‘The Age of Rudeness‘ in The New York Times
• Gaby Hinsliff, ‘We are overdosing on empathy‘ in The Guardian
• Arifa Akbar, ‘The value we place on romantic love can feel tyrannical – especially if you’re a single woman‘ on The Pool
• Suzanne Moore, ‘It’s liking, not loving, that’s the true challenge in relationships‘ on The Pool
• Diane Abbott, ‘I fought racism and misogyny to become an MP. The fight is getting harder‘ in The Guardian
• Elizabeth Day, ‘What does true love really look like?‘ on The Pool
• Ruth Whippman, ‘Authentic? Try being polite instead‘ in The Guardian
• Deborah Cohen, ‘Before Straight and Gay‘ on The Atlantic
• Lizzie Presser, ‘Below Deck‘ in The California Sunday Magazine
• Tari Ngangura, ‘How Black History Month Reminds Me How Exhausting It Is To Be Black‘ on Vice
• Caitlin L. Chandler, ‘The Other World‘ on Guernica
• Helen Haft, ‘Telling Memories‘ on Aeon
• Andrea Pitzer, ‘Trump Revives a Shameful Tradition: Targeting a Minority Group with Crime Reports‘ on Longreads
• Ijeoma Oluo, ‘White People: I Don’t Want You To Understand Me Better, I Want You To Understand Yourselves‘ on The Establishment
• Lois Parshley, ‘Here Be Dragons: Finding the Blank Spaces in a Well-Mapped World‘ on VQR
• Hina Shamsi, ‘Flying Home From Abroad, a Border Agent Stopped and Questioned Me … About My Work for the ACLU‘ on ACLU
• Tina Nguyen, ‘Trump Grill Could Be the Worst Restaurant in America‘ in Vanity Fair
• Tamara Winfrey Harris, ‘The Real Work of Being an Ally‘ on The Cut
• Nesrine Malik, ‘Suddenly, Muslims are America’s pariahs‘ in The Guardian
• Margaret Simons, ‘The Karen road to Nhill‘ on SBS
• Fariah Roísín, ‘What Makes a Border Be?‘ on Hazlitt

Film, Television, Music, Art, Fashion and Sport:

• Anna Leszkiewicz, ‘From Hannah Horvath to Rory Gilmore: the problem with women writers on TV‘ in the New Statesman
• Eva Holland, ‘Bird Man‘ on Longreads
• Lynn Enright, ‘Twentysomething women often win Best Actress. Men in their twenties basically never win Best Actor‘ on The Pool
• Brittney Cooper, ‘Why It’s Important to Recognize That “Moonlight” Was Robbed Of Its Moment‘ in Cosmopolitan
• Jia Tolentino, ‘The Awkward Politics of the Oscars‘ in The New Yorker
• Megan Garber, ‘Why Are They ‘Stars’?‘ on The Atlantic
• Jess Goldschmidt, ‘Against La La Land‘ on Guernica
• Ann Powers, ‘The Problem With The Grammys Is Not A Problem We Can Fix‘ on NPR
• Helen O’Hara, ‘TV is better placed to tell love stories than cinema – and its writers have finally realised that‘ on The Pool
• Frances Ryan, ‘I, Daniel Blake is a realistic depiction of life on benefits. Isn’t it?‘ in The Guardian
• Emma Gray, ‘What White Women Can Learn From Adele’s Grammys Speech‘ on the Huffington Post
• Anindita Ghose, ‘What John Berger would say about Beyoncé‘ on Live Mint
• Hadley Freeman, ‘Oh, how I loved you, Johnny Depp. Now I see the purple-tinted truth‘ in The Guardian
• Laura Craik, ‘Why do we judge Victoria Beckham by her husband?‘ on The Pool
• Micha Frazer-Carroll, ‘Why We Should Celebrate Beyoncé’s Pregnancy in the Era of Trump‘ on Gal-Dem
• Danielle Dash, ‘Beyonce, Black Joy & White Women‘ on her website
• Jennifer Keshin Armstrong, ‘The Mary Tyler Moore Show’s Feminist Struggle‘ on Longreads
• Dayna Evans, ‘Why Would a Woman Want to Play Football?‘ on The Cut
• Véronique Hyland, ‘Why Won’t We Let Madonna Age the Way She Wants To?‘ on The Cut

The interviews/profiles:

• Susan Hill in The Guardian
• Cara Hoffman on Broadly
• Rowan Hisayo Buchanan on Literary Hub
• Kate Zambreno on The Creative Independent
• Yoojin Grace Wuertz on Electric Literature
• Melissa Febos on Guernica
• Masha Gessen on The Millions
• Zeba Talkhani and Laura Waddell on Minor Literature[s]
• Patty Yumi Cottrell in the Los Angeles Review of Books
• Ayòbámi Adébáyò in The Guardian
• Claudia Rankine in The Financial Times
• Claire Fuller in The Chicago Review of Books
• Ethel Rohan on The Millions and on Bustle
• Yiyun Li in The Guardian, on Five Books
• Jane Wong and Aditi Machado on Literary Hub
• Roxane Gay on Brooklyn
• Emily Ruskovich on Electric Literature
• Roshi Fernando on Short Story Award
• Jess Phillips on The Debrief
• Morgan Parker in The Cut
• Liane Moriarty in The Guardian
• Dreda Say Mitchell on Greenacre Writers
• Sara Baume in The Guardian
• Ola Nubi on Ankara Press
• Shappi Khorsandi in The Guardian
• Heather O’Neill on The Millions
• Rachel Cusk in BOMB
• Nina LaCour on The Booklist Reader
• Emma Donoghue on Literary Hub
• Ayelet Waldman in California
• Alice Broadway on Foyles, in The Guardian
• Amanda Owen in The Guardian
• Chimamanda Ngozi Adichie in The Guardian
• Margaret Atwood in The Guardian
• Ali Smith in The New York Times
• Lara Pawson on Rhys Tranter
• Christine Hyung-Oak Lee on NPR
• Jade Sharma in The Rumpus
• Alana Massey on Hello Giggles, Hazlitt
• Khairani Barokka on Disability Arts
• Adrian Shirk on Catapult
• Katie Kitamura on Literary Hub
• Camille Pagán in the Huffington Post
• Adania Shiboli on Literary Hub
• Naomi Jackson on The Rumpus
• Katie Khan on In the Words of
• Kyo Maclear on Mcleans
• Kim Hyesoon on Guernica
• Jessica Valenti on The Rumpus
• Elif Shafak in The Guardian, on Foyles
• Erica Ferencik on Electric Literature
• Eimear McBride on Electric Literature
• Sandra Cisneros on Literary Hub
• Shanthi Sekaran on Bookanista
• Ottessa Moshfegh on Lenny

The regular columnists:

• Lucy Mangan in Stylist
• Roxane Gay in The Guardian US
• Caitlin Moran in The Times
• Lauren Laverne in The Pool
• Ella Risbridger in The Pool
• Sali Hughes in The Pool
• Bim Adewunmi in The Guardian
• Sophie Heawood in The Guardian
• Eva Wiseman in The Observer
• Tracey Thorn in The New Statesman
• Chimene Suleyman and Maya Goodfellow on Media Diversified
• Josie Pickens on Ebony
• Bridget Christie in The Guardian
• Lizzy Kremer on Publishing for Humans
• Juno Dawson in Glamour
• Kashana Cauley on Catapult
• Louise O’Neill in the Irish Examiner
• Jendella Benson on Media Diversified
• Lola Okolosie in The Guardian
• Sarah Gerard, ‘Mouthful‘ on Hazlitt
• Books by Women We’d Love to See in English on Literary Hub

Watch Her Disappear – Eva Dolan

Watch Her Disappear is the fourth book in Eva Dolan’s Zigic and Ferreira series. I’ve loved all three previous books and found Dolan to explore sensitive, politically charged subjects in interesting and, ultimately, sensitive ways. Watch Her Disappear is no different in that Dolan’s starting point is the murder of a trans woman. The number of trans women murdered each year has increased significantly in the last five years, a disproportionate number of these women are women of colour, and many are then misgendered in media reports following their death.

At the beginning of Watch Her Disappear, Corrine Sawyer is out for her morning run when she’s pushed from behind into the ground, dragged into the trees and strangled with the cord of her headphones.

‘You get why this needs to be in Hate Crimes, right?’ Adams said, slightly less aggressively now. ‘A murdered trans woman, we can’t have any mistakes. Someone makes a stupid slip of the tongue and we’re going to be accused of prejudice against the LGBTQ community. How’s that going to look?’

When the body’s first discovered, the police don’t know whether the murder is connected to a series of sexual attacks on joggers. The attacks have all taken place on cis women but the police can’t rule out the possibility that this is the same perpetrator. Equally, they could be looking for someone who’s targeting trans women who either hasn’t been active in their area previously or has carried out attacks that have gone unreported. These possibilities mean that while the investigation is given to Zigic and Ferreira, a member of CID, Colleen Murray, is assigned to work with them.

While potential suspects stack up and tensions between the Hate Crimes Unit and CID run high, Dolan explores a number of issues effecting trans women: unreported attacks; the support – or lack of – from family and friends, particularly spouses and children; passing and the cost of doing so or not doing so, both financially and psychologically, and treatment by the police. The latter forms a significant part of the novel, as you might expect, but Dolan also uses it to explore societal attitudes to trans women, confronting some unpalatable transphobic views.

‘Right, your man down at Ferry Meadows,’ Riggott said, taking an e-cigarette from his shirt pocket. ‘What’s the story?’

‘It was a woman. Didn’t Adams brief you already?’

Riggott rolls his eyes. ‘I know how he was dressed and I realise you’re a stickler for notions of political correctness but unless he was legally declared female – which I gather he’d not been – then you’re dealing with a man who happened to be wearing ladies’ clothing.’

‘Corinne Sawyer was transitioning,’ Zigic said firmly, knowing better than to give ground at this early stage. ‘She was living as a woman full-time. Her friends and family knew her as a woman and her killer attacked her as a woman. I think that’s more significant than the state of her genitalia.’

While this repeatedly makes for uncomfortable reading, Dolan seamlessly incorporates education around trans issues into a page-turning plot. (There is, however, an inconsistency in the writing where on at least one occasion the words trans woman have been run together as one.)

The nature of the case also forces Zigic and Ferreira to step up. CID are on their territory; Zigic’s superior DCS Riggott is a bigot (now I’m wondering whether that name choice was a deliberate bit of rhyming), and the trans community are – quite rightly – wary of the police. An incident during the investigation leads to Ferreira having a Jack Bauer moment and going rogue. If you’ve read any of the previous books in the series, you’ll know that Ferreria going rogue can only be spectacular. She’s also got other issues stemming from the fact she’s sleeping with her superior, DCI Adams, on the quiet. It’s in this book that Ferreria becomes more forceful than ever before; she’s moved out of her family’s pub and it’s not just her living situation that’s become more independent.

Watch Her Disappear is a well-considered look at the violence and societal stigma trans women face. More than ever in this book, Dolan sets out to educate her audience while maintaining a gripping plot throughout. Her brand of social issues crime is timely and well-researched. Another Zigic and Ferreira success.

 

Thanks to Harvill Secker for the review copy.

 

 

Book Lists for All Humans #2

I didn’t expect it to be so soon but here we are, courtesy of this list of Top 10 Books to Make You a Better Person in The Guardian. Four white men (sounding good so far, right?), three men of colour, three white women. Verdict = could do better (the pun wasn’t intended but I’ll take it).

There’s a problem with this list because I don’t know what making someone a ‘better’ person means. Who decides the criteria?

I’ve gone for books that made me think about the world differently (and avoided any I included in list #1 although they’re all relevant too); feel free to interpret it in your own way and leave your suggestions in the comments.

An Untamed State – Roxane Gay
Haiti, kidnapping, rape, privilege, poverty

The Country of Ice Cream Star – Sandra Newman
Dystopia, AAVE, disease, love, war, religion

Under the Udala Trees – Chinelo Okparanta
Love, religion, ‘cures’ for homosexuality, Nigeria, women

Just Call Me Superhero – Alina Bronsky (translated by Tim Mohr)
Disability, friendship, love, sexuality

Blonde Roots – Bernadine Evaristo
Counterfactual slave narrative, race reversal

The Repercussions – Catherine Hall
War photography, Afghanistan, love, women, history

Sofia Khan Is Not Obliged – Ayisha Malik
Hijab, dating, religion, family, writing

Tell No Tales – Eva Dolan
Far right, immigration, politics, crime, corruption

The Book of Memory – Petina Gappah
Race, class, albino, women in prison, perspective

The Glorious Heresies – Lisa McInerney
Working class, feminism, religion, crime, coming of age

(Links to my reviews.)

 

In the Media: February 2016, Part One

In the media is a fortnightly round-up of features written by, about or containing female writers that have appeared during the previous fortnight and I think are insightful, interesting and/or thought provoking. Linking to them is not necessarily a sign that I agree with everything that’s said but it’s definitely an indication that they’ve made me think. I’m using the term ‘media’ to include social media, so links to blog posts as well as traditional media are likely and the categories used are a guide, not definitives.

This fortnight, Frances Hardinge became the first children’s author to win the Costa Book of the Year Award since Philip Pullman in 2001. Hardinge’s interviewed in The Guardian. Aria Akbar in The Independent used Hardinge’s win to remind us that adults can and do read children’s books too, ‘Here’s hoping this ‘moment’ for children’s fiction leads to a golden age‘ while Caroline O’Donoghue asked, ‘Why is it so easy to fall in love with children’s books?‘ on The Pool.

The other bookish talking point has been around those titles Marion Keyes named ‘Grip-Lit’ i.e. so gripping you don’t want to stop turning the pages. Alexandra Heminsley writes, ‘Grip-lit, and how the women in crime fiction got interesting‘ on The Pool, while Sophie Hannah says, ‘Grip-lit? Psychological thrillers were around long before Gone Girl‘ in The Guardian.

The best of the rest:

On or about books/writers/language:

• Suzanne Joinson, ‘Writing, Travelling and the Creative Act‘ on Literary Hub
• Alison Kinney, ‘In Praise of the DIY Book Party‘ on Literary Hub
• Bridget Read, ‘Janet Malcom: Biased, Mean and Brilliant‘ on Literary Hub
• Elizabeth McKenzie, ‘Surrealism and Decomposition or How I Wrote My Novel‘ on Literary Hub
• Leslie Jamison and Alice Gregory, ‘When Is Criticism Unfair?‘ in The New York Times
• Charlotte Shane, ‘Secrets Among Distractions: The Power of Wimmelbooks‘ on Hazlitt
• Tara Isabella Burton, ‘Dark Books‘ on Aeon
• Hannah Ewens, ‘Remembering Sarah Kane, the Playwright Who Changed British Theater Forever‘ on Vice
• Nayomi Munaweera, ‘A Tale of Two Author Photos: Gender, Race and the Body Represented‘ on Electric Literature
• Lolita Chakrabarti, ‘“Red Velvet”, and what’s wrong with theatre today‘ in The Independent
• Marie Mutsuki Mockett, ‘Our Fairy Tales Ourselves: Storytelling from East to West‘ on Literary Hub
• Jeannine Hall Gailey, ‘The Amazing Disappearing Woman Writer‘ on The Rumpus
• Various, ‘‘Big books by blokes about battles’: Why is history still written mainly by men?‘ in The Guardian
• Tracy Chevalier, ‘My Hero: Charlotte Brontë‘ in The Guardian
• Pankaj Mishra, ‘on Arundhati Roy: Hindu nationalists ​have many ways to silence writers‘ in The Guardian
• Rachel Cooke, ‘Is English literature since 1918 really such a man’s world?‘ in The Guardian
• Robert McCrum, ‘The 100 best nonfiction books: No 1 – The Sixth Extinction by Elizabeth Kolbert (2014)‘ in The Guardian
• Jhumpa Lahiri, ‘I am, in Italian, a tougher, freer writer’ in The Guardian
• Saima Mir, ‘British literature needs black and asian women – and not just as a trend‘ in The Guardian
• Emer O’Toole, ‘A dictionary entry citing ‘rabid feminist’ doesn’t just reflect prejudice, it reinforces it‘ in The Guardian
• AL Kennedy, ‘Doctor Who reminded me how precious storytelling is‘ in The Guardian
• Honor Cargill, ‘What it’s like to write a book with your mum‘ in The Guardian
• Hilary Mantel, ‘on Elizabeth Jane Howard: the novelist she tells everyone to read‘ in The Guardian

Personal essays/memoir:

• Amy Long, ‘“Mom, I’m Taking Opiates Again, I’m Fine.”‘ on Literary Hub
• Catherine Talese, ‘Travels to Nowhere‘ on Literary Hub
• Jessica Ritchey, ‘Unfathomable Life: A Writer Grieves for Her Father, through Five Movies‘ on RogerEbert.com
• Nancy Westaway, ‘Modern Grief‘ on The Walrus
• Corina Zappia, ‘Mole Biopsies and Other Love Notes‘ on The Rumpus
• Charlotte O’Brien, ‘Plankton (A Body of Stars)‘ on The Rumpus
• Adele Oliviera, ‘Violet‘ on Longreads
• Ariel Lewiton, ‘To Anyang‘ in Guernica
• Elif Batuman, ‘Cover Story: The head scarf, modern Turkey, and me.‘ in The New Yorker
• Miranda Sawyer, ‘I have lived over half of my life‘ in The Guardian

Feminism:

• Emma Winsor Wood, ‘Powerlifter‘ in The Morning News
• Rebecca Mead, ‘“Sexual Politics” and the Feminist Work That Remains Undone‘ in The New Yorker
• Daisy Buchanan, ‘An open letter to Piers Morgan‘ on The Pool
• Daisy Buchanan, ‘Facebook’s “Motherhood Challenge” feels like it’s there to pit women against each other‘ on The Pool

Society and Politics:

• Lisa Miller, ‘Who Knows Best‘ in The Cut
• Vesna Plazacic, ‘At Least the Bombs Aren’t Falling‘ on Maisonneuve
• Gina Mei, ‘Who Gets to Wear a Cheongsam?‘ on Racked
• Jill Lepore, ‘Baby Doe‘ in The New Yorker
• Judy Wajcman, ‘Fast-World Values‘ on Aeon
• Tiffany Jenkins, ‘My Secret Life‘ on Aeon

Film, Television, Music, Art and Fashion:

• Soraya Roberts, ‘Winona, Forever‘ on Hazlitt

The interviews:

• Cheryl Strayed on Literary Hub, Part One and Part Two
• Karen Salyer McElmurray on The Rumpus
• Danielle Dutton on The Rumpus
• Helen Ellis on The Rumpus and in The Guardian
• Vickie Stringer on The Rumpus
• Rachel Cantor on Electric Literature
• Molly Crabapple in Guernica
• Margaret Atwood in The Caravan
• Rusty Morrison in the Los Angeles Review of Books
• Eva Dolan on Trip Fiction
• Han Kang (and translator Deborah Smith) in The Guardian
• Meg Rosoff in The Independent
• Toni Morrison in The Guardian
• Kit de Waal in The Guardian
• Marissa Meyer in The Guardian
• Claire Vaye Watkins in The Guardian
• Kathy Reichs in The Guardian

The regular columnists:

• Laurie Penny in The New Statesman
• Lucy Mangan in Stylist
• Roxane Gay in The Guardian US
• Yasmin Alibhai-Brown in The Independent
• Caitlin Moran in The Times
• Lauren Laverne in The Pool
• Ella Risbridger in The Pool
• Sali Hughes in The Pool
• Bim Adewunmi in The Guardian
• Sophie Heawood in The Guardian
• Eva Wiseman in The Observer
• Tracey Thorn in The New Statesman
• Chimene Suleyman and Maya Goodfellow on Media Diversified
• Josie Pickens on Ebony
• Bridget Christie in The Guardian
• Lizzy Kremer on Publishing for Humans
• Juno Dawson in Glamour

After You Die – Eva Dolan

After You Die is a departure from Dolan’s previous Zigic and Ferreira novels, Long Way Home and Tell No Tales, in three senses: one, for the first time, the dead bodies belong to two females; two, the women aren’t immigrants; three, there’s more of a focus on Zigic and Ferreira themselves and a sense that their stories are as much a part of the text as those potentially involved in the case.

The dead bodies are Dawn Prentice, brutally stabbed in her own kitchen, and her disabled daughter, Holly, who’s been left to die in an upstairs bedroom, incapable of leaving her bed to raise the call for help. The case has gone to the Hate Crimes Department because Dawn had previously reported some harassment after Holly returned from hospital following a climbing accident that left her spinal cord severed. Initially the harassment consisted of silent ’phone calls and vandalism in the garden.

‘Then what?’

‘She got a modified people carrier to take Holly out in. It was on the drive for a day before the tyres were slashed.’ Ferreira frowned. ‘Someone sprayed the word “cripple” across the side of it.’

Initially, there seems to be two main suspects – Dawn’s estranged husband and Holly’s father, Warren, who, unable to cope with the consequences of Holly’s accident has moved in with Sally, the woman who owns the local kennels and her teenage son, Benjamin, who’s a complete charmer. When Sally tells him Dawn and Holly are dead his response is:

‘Shit.’

‘Murdered, ‘ Zigic said.

‘Fuck.’

Sally frowned at him. ‘There’s no need for that sort of language.’

He shrugged, attention on Zigic now, curious rather than shocked, and Zigic wondered if his lack of emotional response was the usual adolescent attempt at worldliness or something darker.

‘Were they raped?’

‘Benjamin!’ Sally turned to Zigic and apologised. Back to her son. ‘What a disgusting thing to say.’

He held his hand up. ‘I was only asking. Jesus. It’s what happens, isn’t it? That’s why women usually get killed.’

Dolan uses Dawn’s death partly to expose misogynistic attitudes to women. This is foregrounded when Zigic and Ferreira discover that she’s been using dating sites to meet men for sex and they need to interview all those she’s seen recently. Dolan avoids slut-shaming Dawn by writing about her sexual encounters without judgement.

The other key suspect is ten-year-old, Nathan. He’s being fostered by Dawn’s best friend, Julia, but disappeared not long before the bodies were found. Julia and her husband, Matthew, disagree about whether to inform the police of Nathan’s disappearance:

‘He was round there all the time, we’ve no idea what was going on between them.’

Julia scowled at him. ‘You read his case file, there’s nothing to suggest that he’s dangerous or violent. My God, Matthew, do you think I wouldn’t see it if he was?’

…

She knew Nathan was a good, kind boy and she’d promised to look after him. She’d failed him once, she wouldn’t do it again.

When Zigic and Ferreira do find out about Nathan’s disappearance, Zigic comes up against a section of the police force he’s not had reason to deal with before. It’s one he’s not so keen on either.

After You Die is another gripping crime novel from Eva Dolan, but more than that, it’s an examination of attitudes towards women and to children in care. Dolan is sympathetic towards both, using not only Dawn and Holly’s deaths to show real women and people’s attitudes towards them – including internet harassment – but also Ferreira dealing with her injuries from the end of Tell No Tales. The shrapnel still embedded in her legs has curbed her sex life due to her awareness of how society will view her now – ‘she was flawed now and women weren’t allowed to be’. And then there’s Zigic’s wife, Anna, pregnant with their third child and Julia, Dawn’s best friend, 28 weeks’ preganant. Again, Dolan doesn’t treat these women as though they should be wrapped in gossamer, but to comment on attitudes towards them.

The children in care – Nathan and Julia and Matthew’s long term foster child, Caitlin – are shown to be more than their case files and a level of understanding of how challenging life can be for people in a variety of circumstances is given.

After You Die is my favourite of Dolan’s novels so far. Bring on the next one!

 

Thanks to Harvill Secker for the review copy.

 

 

 

Tell No Tales – Eva Dolan

The world became smaller and yet less intimate, homogenised on a superficial level only, and it seemed to him that the further people moved from home the more aggressively they defended the perceived uniqueness of their own culture.

Sisters Sofia and Jelena wake early and get ready for work at Boxwood Farm, making their way to the bus stop which doubles as a pick-up point.

In the distance car horns blared above the traffic noise and an engine revved, a deep, throaty rattle as a white Volvo shot erratically around a cyclist. Sofia froze as its headlights washed the pavement, silhouetting Jelena’s figure, her back to the car, phone to her ear. Sofia opened her mouth to scream but no sound came out. Then she heard a bang and something slammed into her and the world turned black as her head hit the ground.

Because the women are migrant workers, the case is referred to the Hate Crimes Department at Peterborough and Dolan’s regular detective team of DI Dushan Zigic and DS Mel Ferreira.

Jelena dies but Sofia survives. When Zigic goes to visit Sofia in hospital, she makes it clear she suspects one particular person: Anthony Gilbert, Jelena’s ex-boyfriend. Gilbert, they discover, has form for stalking and harassment. With no lead on the car – it was sold to someone who called himself ‘John Smith’ and said he had no address – Zigic and Ferreira go to see Gilbert and find him on the floor of his kitchen having taken an overdose.

This isn’t the only case troubling the Hate Crimes Department at the moment though:

Two murders three weeks apart, the victims both men of foreign origin. If they were women, or English, people would already be hinting darkly at a serial killer, but these were closing-time kickings dished out on rough side streets where violence was routine and those on the receiving end rarely reported it.

The victims are Didi, a 17/18-year-old Somalian:

When his body was found his head was completely ruined, kicked and stamped on so many times that every bone in his face was broken…

and Ali Manouf, ‘another face caved in under heavy boots’.

When Zigic tells his boss DCS Riggott they need more coverage to help them with their lack of leads, he points out that the Chief Constable’s playing golf with a group who want to invest in the city, creating 1500 jobs. What does surface though is a ten second CCTV clip in which a man dressed in black and wearing a balaclava with fine gauze across the eyes, emerges from the alley where Ali Manouf was kicked to death, turns to the camera, draws himself up ‘and raised his gloved hand in a stiff-armed Nazi salute’.

In the background to all this is English Patriot Party leader, Richard Shotton. Elected to parliament via a November by-election, his well-oiled publicity machine’s doing overtime to try and ensure he keeps his seat in the next General Election.

In the three years I’ve been running this blog, there’s only one book I regret not reviewing and that’s the first in Dolan’s Zigic/Ferreira series, Long Way Home. I didn’t review it because I bought it on Kindle and read it in a sporadic and disjointed manner – not the way I would’ve approached it had I been intending to review it – on a city break, as a ‘holiday read’ (albeit a very grim one, although it was December and I was in Berlin). I still vividly remember chunks of the plot and can picture sections of it because the writing is so precise and, let’s face it, brutal. Dolan has also created a great team in Zigic and Ferreira. Him the softer of the two who prefers to coax witnesses and suspects into revealing information; her harsher and more likely to storm into something without considering the consequences. She’s also very funny (intentionally on Dolan’s part but unintentionally on Ferreira’s were she real). Here’s a couple of moments from Tell No Tales to give you a flavour:

‘Good man. Press conference at five,’ Riggott said, heading for the door. He stopped to click his fingers at Ferreira. ‘Mel, make sure he’s wearing a suit.’

She watched him leave, eyebrows drawn together in a scowl. ‘What, I’m the fucking wardrobe mistress now?’

*

‘Have you seen this?’ Ferreira was brandishing the newspaper Gilraye had left behind on her desk. ‘Richard Shotton. They’re going to Nick Griffin’s prettier little sister for quotes now.’

She slapped the paper down and stomped over to the open window, lit her cigarette and took a furious drag which hollowed her cheeks.

‘I would love to be one of his people,’ she said.

‘I think Shotton’s a little bit more careful than that,’ Zigic pointed out.

Tell No Tales is a tightly plotted novel. There are more twists and turns than Spaghetti Junction but they never feel as though Dolan’s hand is on them, more that they’re exactly the barriers and connections a team investigating this type of crime might come up against. The characters are well drawn: Zigic and Ferreira in particular feel like real people, and Dolan’s imagery and descriptions, while often brutal, are incredibly effective (and affective on many occasions).

There are two things I really love about Tell No Tales (and Long Way Home): the first is how Dolan uses the crime genre to tell stories about the migrant population, allowing them and the British characters to be a mixture of people – victims, villains and everything on the spectrum between. There’s a brilliant scene where the local Asian population protecting the streets on which they live and led by their community leader, Mr Shahzad, stand off against a group of white fascists. It raises questions about ‘right’ and ‘wrong’ in the eyes of the law and in terms of morals. If I were still teaching, I’d be using it in school.

The second is the lack of young women grotesquely murdered. Crime statistics show that far more men are murdered than women (78.7% of murder victims are male according to the United Nations Office on Drugs and Crime), yet this is rarely reflected in crime fiction. It’s great to see a crime writer addressing this in their work.

Tell No Tales is a fantastic crime novel and the team of Zigic and Ferreira are a delight to follow. It’s been a long time since I was hooked on a crime series but Dolan’s books are an absolute treat. (So much so that I’ll be reviewing the third book in the series, After You Die on Friday.)

 

Thanks to Harvill Secker for the review copy.

In the Media: 29th March 2015

In the media is a weekly round-up of features written by, about or containing female writers that have appeared during the previous week and I think are insightful, interesting and/or thought provoking. Linking to them is not necessarily a sign that I agree with everything that’s said but it’s definitely an indication that they’ve made me think. Also, just a note to make it clear that I’m using the term ‘media’ to include social media, so links to blog posts as well as traditional media are likely.

News this week from ABC that a Tasmanian writer, Marjorie Davey, has published her first novel at the age of 95. She might be the oldest but she’s not the only woman to be published later in life; Abby Ellin’s article, ‘Finding Success, Well Past the Age of Wunderkind‘ in the New York Times includes Lucille Gang Shulklapper, first published at 60, and Cathy writes about Leland Bardwell: The forgotten woman of Irish literature, first published at 48, on 746Books.

At the opposite end of the age spectrum (give or take) the big news this week was that Zayn Malik left pop band One Direction. Before the news broke, Leesa Cross-Smith wrote ‘One Direction & Other Boy Bands‘ on Real Pants (which had me watching more 1D videos than I’d ever seen before (which was none)) while advertisements for Granta popped up). Anna Leszkiewicz wrote ‘I’m an adult woman with a real boyfriend – and I’m absolutely heartbroken about Zayn Malik quitting One Direction‘ in The Independent, Mackenzie Kruvant wrote, ‘How One Direction Helped Me Find My Girls‘ on Buzzfeed, and Huma Munshi wrote, ‘The Courage of Zayn Malik and Why Strong Men Cry‘ on Media Diversified.

Media Diversified also published an open letter ‘To the organisers of the Baileys Women’s Prize for Fiction‘ regarding Cathy Newman and Grace Dent being members of the judging panel.

Granta, in celebration of their new website, opened up some of their archive, including these letters from Iris Murdoch to Raymond Queneau; ‘Night‘ by Alice Munroe; Sayaka Murata’s ‘A Clean Marriage‘ (tr. Ginny Tapley Takemori), and ‘Hardy Animal‘ by M.J. Hyland

It was the anniversary of Virginia Woolf’s death this week. Daniel Swift wrote ‘Virginia Woolf in the Bomb-scarred City‘ in Five Dials and Louise Brearley read Virginia Woolf’s final letter to her husband in The Telegraph.

And in commemoration of the third anniversary of Adrienne Rich’s death, The Critical Flame have devoted a whole issue to her and her work. The table of contents is here.

Angelina Jolie Pitt turned to writing this week with her ‘Diary of a Surgery‘ in The New York Times. Fay Schopen responded with ‘Angelina Jolie says the decision to deal with her cancer was simple. Mine is not‘ in The Guardian, while Caroline Corcoran wrote about her own experience, ‘I never felt like I’m less of a woman because I don’t have breasts or ovaries‘ in The Independent.

But the woman with the most publicity this week seems to be JK Rowling. ‘JK Rowling says she received ‘loads’ of rejections before Harry Potter success‘ wrote Alison Flood in The Guardian; Stylist ran ‘JK Rowling’s Brilliant Response to Fan Who ‘Can’t See’ Dumbledore as Gay, Plus 9 Times She Owned Twitter‘; Matilda Battersby wrote, ‘JK Rowling defends Dumbledore on Twitter: Seven Things You Might Not Know About the Hogwarts’ Headmaster‘ in The Independent; Chris Mandle wrote, ‘Why we need more fictional gay role models like Albus Dumbledore‘ in The Telegraph and Stylist ran a piece titled, ‘JK Rowling Describes Hitting ‘Rock Bottom’ In a New Book About The Benefits Of Failure‘

In Harper Lee news, the cover of Go Set a Watchman was revealed this week. The Guardian are inviting people to design their own.

Finally, if you want a good reading list of books by women, the Edge Hill Short Story Prize announced its longlist this week, including Anneliese Mackintosh, Stella Duffy, Kirsty Logan, May-Lan Tan, Hilary Mantel and A.L. Kennedy.

The best of the rest articles/essays:

• Katie Barnes, ‘This Is Not My Cinderella‘ on Feministing
• Maggie Tokuda-Hall, ‘My Abortion Was A Hard Choice—But The Right One‘ on Ravishly
• Heather Cromarty, ‘Personal Jesus Built My Hotrod‘ on Queen Mob’s Tea House
• Robert McCrum, ‘The 100 best novels: No 79 – The Prime of Miss Jean Brodie by Muriel Spark (1960)‘ in The Guardian
• Lizzy Kremer, ‘Thinking at Night: Writing into the Silence‘ on Publishing for Humans
• Leslie Reese, ‘Little Leslie’s Report‘ (on Edwidge Danticat’ on Folklore & Literacy
• Brigid Delaney, ‘Leave Gwyneth Paltrow alone! Her website gives me joy‘ in The Guardian
• Jane Bradley, ‘Shapps fell into brand confusion trap‘ (Confusingly, mostly about female writers and pseudonyms) in The Scotsman
• Leo Jay Shire, ‘As a Mixed-Race Woman, in the Game of Racial Top Trumps My Blackness Always Wins‘ on Media Diversified
• Mallika Rao, ‘No Punctuation Is Funnier‘ on The Huffington Post
• Jaya Saxena, ‘The Way to the Heart is Not Through the Liver‘ on Archipelago
• Rivka Galchen, ‘Do Money Woes Spur Creativity or Stifle It?‘ in The New York Times
• Stacey Patton, ‘Loving White People Won’t Fix Racism‘ in Dame
• Roxane Gay, ‘Men You Meet While Traveling By Airplane‘ in The Butter
• Elisa Gabbert, ‘Much Hinges: The joys of using the “wrong comma”‘ on The Smart Set
• Ester Bloom, ‘Dreams of Being a Feminist Housewife‘ on The Billfold
• Maya Dusenbery, ‘Is Medicine’s Gender Bias Killing Young Women?‘ on Feministing
• Casey Plett, ‘Rise of the Gender Novel‘ on The Walrus
• Martha Bayne, ‘Words Fail‘ in The Rumpus
• Kendra Atleework, ‘Why Must One House Burn While Another Is Spared?‘ in Guernica
• Mallory Ortberg, ‘Children’s Stories Made Horrific: The Frog Prince‘ in The Toast
• Nathan Smith, ‘Feminist Artifacts: The Archive of Germaine Greer‘ in the Los Angeles Review of Books
• Meera Syal, ‘Growing up between cultures is tough – until you realise it’s a creative blessing‘ in The Guardian
• Diana Williams, ‘I chose to be a mother at 50: Why would a single, middle-aged woman endure years of fertility treatment to have twins?‘ in The Independent
• Elen Caldecott, ‘My Inspiration: Gillian Cross‘ in The Guardian
• Anjum Hassan, ‘Sisters‘ in Granta
• Kelly Davio, ‘The Waiting Room: What My Self-Respect Looks Like‘ in The Butter
• Rachel Vorona Cote, ‘A For Books’ Sake Guide to Literary Self-Care‘ on For Books’ Sake

• Toni Morrison, ‘No Place for Self-Pity, No Room for Fear‘ in The Nation
• Rachel Cusk, ‘Raising Teenagers: The Mother of All Problems‘ in The New York Times
• Eillie Anzilotti, ‘A Life in My Mother’s Clothes‘ in The Toast
• Sarah Seltzer, ‘Beyond Mansplaining: A New Lexicon of Misogynist Trolling Behaviors‘ on Flavorwire
• Joanne Harris, ‘Why I’m Saying “Fuck you” to Clean Reader‘ on her blog
• Lionel Shriver, ‘Why filthy literature should not be cleaned up‘ in The Guardian
• ‘Louise Doughty and Jacqui Lofthouse: Tortoises Rather Than Hares‘ on Something Rhymed
• Jacquie Lawrence, ‘Where have all the lesbians gone in TV and film?‘ in The Guardian
• Natasha Desborough, ‘Why I couldn’t use the phrase ‘camel toes’ in the title of my first novel‘ in The Guardian
• Beulah Maud Devaney, ‘Helpful Spring Cleaning Advice From Gothic Novelist Shirley Jackson‘ on Ravishly
• Brittney Cooper, ‘Black girls’ sexual burden: Why Mo’ne Davis was really called a “slut”‘ on Salon
• Catie L’Heureux, ‘Why I Live in an All-Women Boardinghouse in New York City‘ in The Cut
• Elizabeth Minkel, ‘From the Internet to the Ivy League: Fanfiction in the Classroom‘ on The Millions
• Jenny Diski, ‘Like a Lullaby‘ in The London Review of Books (£)
• Elisa Gabbert, ‘Beauty Is Youth, Youth Beauty‘ on Real Pants
• Emma Frankland, ‘I’m a transgender woman – why shouldn’t I play Hamlet?‘ in The Guardian
• Lucy Hancock, ‘This Is What It’s Actually Like to Go to Private School in the London Suburbs‘ in Vice
• Sarra Manning, ‘In Ross Poldark, we have reached romantic hero nirvana‘ in The Guardian
• Isabel Rogers, ‘Shopping List‘ on her blog
• Rebecca Winson, ‘I don’t give a toss about the number of women in boardrooms‘ on A Bit of Class
• Hannah Giorgis, ‘Many women of color don’t go to the police after sexual assault for a reason‘ in The Guardian
• Frances Ryan, ‘The benefit sanctions regime should be scrapped‘ in The Guardian
• Dorian Lynskey, ‘Kapow! Attack of the feminist superheroes‘ in The Guardian
• Melody Schreiber, ‘Facing the Beast: On Anxiety and Sisterhood‘ in The Toast
• Carmen Maria Machado, ‘O Adjunct! My Adjunct!‘ in The New Yorker
• Mallory Ortberg, ‘Scenes From The Bell Jar And Other Sylvia Plath Works, As Remembered By Someone Who Never Finished Reading Sylvia Plath‘ in The Toast
• Sarah Perry, ‘Lent Talk: Behold the Man‘ on BBC Radio 4 (+ transcript)
• Rachel Smalter Hall, ‘Why I Need a Break From Books About Dead Girls‘ on Book Riot

 

• Andrea Cornwall, ‘Why gender equality by numbers will never measure up‘ in The Guardian
• Amy Juicebox, ‘The Consequences of Attacking Our Little Black Girls‘ on Blavity
• xTx, ‘Today I am a Lonely, Sexless Book Looking for Love and Understanding‘ in The Butter
• Anna Weiner, ‘The Most Wonderful Staircase‘ in The Offing
• Clare Pollard, ‘All the Amazing Women We’ve Never Heard Of‘ on her blog
• John C. Goodman, ‘……Regina Who? And Other Obscure Women Writers……..‘ on Queen Mob’s Teahouse
• Megan Carpentier, ‘All These Angry Women?‘ in Esquire
• Rene Denfeld, ‘Why we execute people is the big question, not how‘ in The Guardian
• Joshua Rothman, ‘Knausgaard or Ferrante?‘ in The New Yorker
• Nancy Tomich, ‘Elusive Aurora‘ in The Toast
• Anna Fitzpatrick, ‘A Post About Books, Sort Of‘ on The Hairpin
• Suzanne Koven, ‘Cheaters: A Life In Eyewear‘ in The Rumpus
• Stephanie Boland, ‘Shock news: contra to the headlines, people with depression have jobs‘ in the New Statesman
• Maureen O’Connor, ‘How I Became a Hoarder of Discontinued Makeup‘ in The Cut
• Kate Colby, ‘The Itch‘ on The Rumpus
• Jo Chandler, ‘Manus in the Balance‘ in The Monthly
• Michele McPhee, ‘The Monster Next Door‘ in Boston Magazine
• Lisa Hix, ‘The Tragic Life of the Courtesan in Japan’s Floating World‘ on Collectors Weekly
• Suzanne Dean, ‘The Shore: A Cover Story‘ on the Penguin Blog
• Hilary Mantel, ‘How to Play “Wolf Hall”‘ in The New York Review of Books
• Tracey Thorn, ‘Your songs are like your children – you have to wave them off into the world‘ in the New Statesman
• Tabitha Blankenbiller, ‘Fiesta Barbie‘ on Hobart
• Sophie Heawood, ‘Stuck on an ice-bound ferry? What a great opportunity for apocalyptic sex‘ in The Guardian
• Parul Sehgal, ‘How ‘Flawless’ Became a Feminist Declaration‘ in The New York Times
• Marina O’Loughlin, ‘‘Something nasty is stirring’: inside Nigel Farage’s battle for South Thanet‘ in The Guardian
• Sasha Marie Storman, ‘The Role of Women in Horror Films‘ on The Inflectionist
• Catherine Chanter, ‘I found my birth mother through the newspaper small ads‘ in The Guardian
• Swetambara Chaudhary, ‘This Photo Was Removed By Instagram. The Owner Writes A Powerful Open Letter In Response‘ on Scoop Whoop
• Anne Thériault, ‘We Need To Stop Devaluing Femininity‘ on Ravishly

The interviews:

• Alison Stone in 3:AM Magazine
• Kim Gordon on Salon
• Bhatupe Mhango-Chipanta on Brittle Paper
• Jane Hirshfield on The Huffington Post
• Michelle Tea on Weird Sister
• Ruth Goodman on The Daily Beast
• Judy Finnigan in Woman
• Nuala Ní Chonchúir on 746Books
• Joanna Briscoe on Rebecca Mascull’s blog
• Alison Bechdel on The Millions
• Abigail Thomas in the Los Angeles Review of Books
• Megham Daum on Flavorwire
• Val McDermid and Kate Tough on Scottish Book Trust
• Evie Wyld on the Penguin Blog
• Sarah Manguso in The Rumpus
• Rachael Herron on Compulsory Podcast
• Judith Butler in The Los Angeles Review of Books
• Ayelet Gundar-Goshen on Bookanista
• Porochista Khakpour on Electric Literature
• Renata Adler in Vice
• Helen Grant on Scottish Book Trust and Author Allsorts
• Sally Green in The Guardian
• Alice Urbino on Broken Frontier
• Johanna Basford on We Love This Book
• Ann Fisher-Wirth on Bloom
• Isabel Wolff on Random House
• Jennifer Jean on DP Life
• Can Xue in BOMB Magazine
• Eva Dolan on Goodreads
• Helen Marshall in Nightmare Magazine
• Sarah Hall in The Guardian
• Naomi Klein in The Independent
• Amelia Gray on Vice

If you want some fiction/poetry to read:

• An extract from Weightless by Sarah Bannan on Bloomsbury Books
• An extract from Binary Star by Sarah Gerard in The Quietus
• An extract from Disclaimer by Renée Knight
• ‘Lunch Poem‘ by Ashleigh Young on Eyelashroaming
• ‘Coach tour on the A99 to Wick‘ by Claire Askew on Scottish Book Trust
• An extract from The Night Falling by Katherine Webb on Orion Books
• ‘I Hope You Sing About Me‘ by Vanessa Willoughby in The Toast
• ‘When Joan Jumped Into the Sea‘ by Elle Nash in The Offing
• ‘Oboe solo for two players‘ by Claire Fuller on her blog
• ‘Richard‘ by Carol Ann Duffy in The Guardian
• ‘A Poem‘ by Morgan Parker in The Awl
• ‘Beau Soleil‘ by Claire Lombardo in the Atticus Review
• ‘Opposites Detract‘ by Cath Bore on The Fem
• ‘tsunami as misguided kwannon‘ by Lee Ann Roripaugh on The The
• An excerpt from Shadows Over Paradise by Isabel Wolff on Random House
• ‘Keep It In the Ground‘ by Carol Ann Duffy in The Guardian
• ‘How to walk past a tree in winter‘ by Shinjini Bhattacharjee on Three Drops from a Cauldron
• ‘The Knot‘ by Eiléan Ní Chuilleanáin in The Irish Times
• Two Poems by Catherine Pond in Blunderbuss

The lists:

• Top 5 YA Debuts of 2015 on Max and Mummy
• If You Loved ‘Bad Feminist,’ Try Reading These 11 Books, Too on Bustle
• 29 Awesome Books With Strong Female Protagonists on Buzzfeed
• Five books by transgender authors that everyone should read on The Walrus
• 14 Novels About Muslim Life That Shouldn’t Be Missed on Buzzfeed
• Sarah Menkedick’s Four Books on Early Motherhood on Vela
• Quotes from Five African Woman Writers to Help You Jumpstart Your Writing Dreams on Brittle Paper
• 5 Flannery O’Connor Quotes to Live By on Flavorwire
• Feminist Books for Children on For Books’ Sake
• Sophie Kinsella’s Literary Heroines on the Penguin Blog
• Books of the Week on Publishers Weekly

In the Media: 18th January 2015

In the media is a weekly round-up of features written by, about or containing female writers that have appeared during the previous week and I think are insightful, interesting and/or thought provoking. Linking to them is not necessarily a sign that I agree with everything that’s said but it’s definitely an indication that they’ve made me think. Also, just a note to make it clear that I’m using the term ‘media’ to include social media, so links to blog posts as well as traditional media are likely.

It’s been another grim week for news. There’s been some insightful commentary from a number of female writers on the big stories though:

Charlie Hebdo and terrorism was written about by Caitlin Moran in The Times; while in The Guardian, Natasha Lehrer wrote ‘The Threat to France’s Jews‘; Hadley Freeman covered the same issue alongside the UK’s antisemitism survey, and Suzanne Moore declared ‘Add faithophobia to my crimes: I have no respect for religions that have little respect for me‘. On Reimagining My Reality, Steph wrote ‘Charlie Hebdo, freedom of speech, and male privilege‘ whilst on Media Diversified, Cristine Edusi wrote, ‘Ongoing terrorism in Nigeria is not a novel, the use of children as human bombs is #WeAreAllNigeria‘.

The Stuart Kerner case was commented on by Janice Turner in The Times; Gaby Hinsliff in The Guardian, and Antonia Honeywell on her blog.

The lack of diversity in the Oscar nominees was written about by Roxane Gay in The Butter

And if that’s all made you thoroughly miserable/angry, here’s Sophie Heawood on Clooney’s Golden Globes speech and her daughter’s first day at nursery and Hadley Freeman on ‘How Amy Poehler and Tina Fey made the Golden Globes the first feminist awards ceremony‘ both in The Guardian.

Speaking of award winners, Hilary Mantel’s having another moment with the BBC television adaptation of Wolf Hall beginning this week. She’s in The Guardian, writing about the TV version; while John Mullan, also in The Guardian, profiles her ‘strange and brilliant fiction‘, while Kirstie McCrum tells us ‘What TV series like Wolf Hall can teach us about history‘ on Wales Online.

Joan Didion’s stint as a model for Celine has also been big news again this week. Adrienne LaFrance writes about fashion and loss in Didion’s work for The Atlantic; Molly Fischer tells us ‘Why Loving Joan Didion Is a Trap‘ on The Cut; Lynne Segal talks about ‘Invisible Women‘ in the LRB; Haley Mlotek declared ‘Free Joan Didion‘ in The Awl and Rachel Cooke says ‘That’s so smart‘ in The Observer, while Brainpickings revealed ‘Joan Didion’s Favorite Books of All Time, in a Handwritten Reading List‘.

 

The best of the rest articles/essays:

• Jeanette Winterson on the poetry of Carol Ann Duffy in The Guardian
• Elisabeth Donnelly, ‘How Margaret Atwood and Zadie Smith Use Technology: An Excerpt from Process: The Writing Lives of Great Authors‘ on Flavorwire
• Tracey Thorn, ‘Do we really want to watch P J Harvey drinking tea and plugging in studio leads?‘ in The New Statesman
• Susan Lanigan, ‘My Mental Health and Experience with Depression‘ on her blog
• Marilynne Robinson ‘On Edgar Allan Poe‘ in The New York Review of Books
• Emma Healey, ‘My hero: Dorothea Tanning‘ in The Guardian
• Katy Derbyshire, on Greta Kuckhoff and translating Mein Kampf on her blog
• Cheryl Strayed, ‘Why Are We Obsessed with the Great American Novel?‘ in The New York Times
• Sadie Stein, ‘The Interview or Those Moments When You Feel Like You’ve Mastered Adulthood‘ in The Paris Review
• Maggie Doherty, ‘Cool Confessions: On Lydia Davis‘ in n+1
• Luiza Sauma, ‘Paris in the Amazon, 1941‘ in The Butter
• Andrea Woodhouse, ‘When the Waves Overturned Grief‘ in Guernica
• Sarah Seltzer, ‘Anne Brontë: Giving the Forgotten Sister and Badass Feminist Author Her Due‘ on Flavorwire
• Kamila Shamsie sails to Antarctica in The Guardian
• Tiffany Stanley, ‘Jackie’s Goodbye‘ in National Journal
• Soraya Chemaly, ‘It’s a Man’s World, Now What?‘ on Role Reboot
• Joanna Chen, ‘What the Trees Reveal‘ in Guernica
• Tara Murtha, ‘I Didn’t Just Scream‘ in The Butter
• Melissa Harrison, ‘Acquainted with the night‘ on Tales of the City
• Nomi Eve and Stephanie Feldman, ‘Why We Write Jewish Historical Fiction‘ in Moment Magazine
• Robin Boylorn, ‘Now that white people have declared ‘bae’ over, black people can use it in peace‘ in The Guardian
• Lucy Ribchester, ‘Edwardian Fashion and The Hourglass Factory‘ on Books and the City
• Francine Prose, ‘They’re Watching You Read‘ in The New York Review of Books
• Rachel Hamada, ‘We Need New Stories, Part one and part two‘ on This Is Africa
• Alana Massey, ‘Being Winona in a World Made for Gwyneths‘ on Buzzfeed
• Wayétu Moore, ‘The Evolution of Bernice‘ in Guernica
• Sarah Emily Duff, ‘Not for all the tea‘ on Tangerine and Cinnamon
• Thea Traff, ‘Nadia Sablin’s “Aunties”‘ in The New Yorker
• Stacey Parker Le Melle, ‘Comfort Stations‘ on The Butter
• Hannah Pittard, ‘You’re (Not) My Favorite‘ on The Millions

• Karen Yossman, ‘Margaret Keane and Big Eyes: Why are we always so ready to believe women’s success is a lie?‘ on The New Statesman
• Elisa Gabbert, ‘On Styling Tricks‘ on Real Pants
• Rachel Kushner, ‘Diary: Bad Captains‘ in the LRB
• Emma Carroll, ‘My Family and Other Emigrants‘ on Girls Heart Books
• Lesley McDowell, ‘When the Midlist Is Where You Want to Be‘ on her blog
• Rebecca Whitney, ‘Domestic Noir Is Bigger Than Ever‘ in The Independent
• Maddie Crum, ‘Rejected Cover Designs for Edith Pearlman’s Honeydew‘ on Huffington Post
• Mark Perry, ‘Who’s Afraid of Alice Childress, Part 1‘ on Playmakers Repertory Company: From Page to Stage
• Vivian French, ‘My Inspiration‘ in The Guardian
• Ellie Gordon-Moershel, ‘How to Make a Recreational Women’s Ice Hockey Team‘ on The Butter
• Sarah Ditum, ‘Razors Pain You: What Dorothy Parker teaches us about our addiction to female suffering‘ in The New Statesman
• Leesa Cross-Smith, ‘Baseballese & Adorableness‘ on Real Pants
• Ashley C. Ford, ‘This Woman Wrote a Book with Almost No Male Characters and Women Love It‘ on Buzzfeed
• Stephen Burt, ‘Author, Feminist, Pioneer: The Unlikely Queen of Sci-Fi‘ on NPR
• Mandy Len Catron, ‘To Fall in Love With Anyone, Do This‘ in The New York Times
• Patricia Nicol, ‘The bad girls’ club‘ in The Sunday Times
• ‘New Faces of Fiction, 2015‘ in The Guardian
• Fiona McBennett, ‘Meet Irish Women Behind Publishing Powerhouses‘ in the Irish Independent
• Lizzy Kremer, ‘How do you like me now?‘ on Publishing for Humans
• Gayle Forman, ‘on why we need to talk about depression‘ in The Guardian
• Jason Weiss, ‘Silvina Ocampo‘ in Granta
• Elizabeth Drew, ‘Selma vs. History‘ in The New York Review of Books
• Anna Maria Hong, ‘On I, Let‘ on Drunken Boat
• Karen Yossman, ‘From Marilyn Monroe to Audrey Hepburn: why dead women make the ideal brand ambassadors‘ in the New Statesman
• Shelley Harris, ‘Bam! Pow! Scream!‘ in The Independent
• Chelsea Cain, ‘What Inspired Me to Write Thrillers‘ on Blinkbox
• Mo Daviau, ‘The Cardigan‘ on The Butter
• Elizabeth Svoboda, ‘The Power of Story‘ in Aeon
• Elizabeth Day, ‘I Was Sold into Sexual Slavery‘ in The Observer
• Emma Warren, ‘A Year in Oxleas Wood: December‘ on Caught by the River
• Rachel Kaadzi Ghansah, ‘A River Runs Through It‘ in The Believer

The interviews:

• Edith Pearlman in The New York Times
• Gill Hoffs on WordMothers
• Susan Howe on Poetry Foundation
• Lucy Wood in The Independent
• Eileen Miles in Vol.1 Brooklyn
• Sophia Toibin on Tales from the Reading Room
• Martine Bailey on Rebecca Mascull’s blog
• Lisa Williamson on Queer YA
• Paula Hawkins in Time, on Books and Reviews and on The Book Trail
• Judith Claire Mitchell on 4th Estate
• Roxane Gay on Salon
• Sharon Hogan (and Rob Delaney) in The Guardian
• Rebecca Bradley on Kelly Florentia’s blog
• Rene Denfeld on Sweatpants and Coffee
• Rachel Cusk in Vogue
• Shalini Boland in The Guardian
• Moira Young on Scottish Book Trust
• Alice Sebold on the Picador blog
• Keren David on We Love This Book
• Emily St. John Mandel on The Takeaway
• Tiphanie Yanique on Electric Literature
• Judith Butler in The New York Times
• Eva Dolan on BBC Radio 4’s Front Row
• Morgan McCarthy on The Right Stripes
• Pamela Paul on The Daily Beast
• Miranda July on NPR
• Emma Healey on Huffington Post

If you want some fiction/poetry to read:

• ‘The Storm‘ by Kate Chopin on Biblioklept
• ‘Dude Watchin’ with the Brontës‘ on Hark, a vagrant
• ‘The Hydraulic Theory of Families‘ by Elisa Casseri (tr. Mati Colarossi) on Parallel Texts
• ‘Seeder‘ by Rahawa Haile in The Butter
• ‘Waiting for Dark‘ by Mia Funk on Litro
• ‘Cities I’ve Never Lived In‘ by Sara Majka in Guernica
• ‘My Little Feminequist Pony‘ by Anne Thériault on Ravishly
• ‘South Korean Ferry Accident‘ by EJ Koh on Thought Catalog
• ‘Day 38‘ an extract from Wild by Cheryl Strayed on Bookanista
• ‘Fairy Poems‘ by Laura Madeline Wiseman on Empty Mirror
• Two poems by Minal Hajratwala in Granta
• ‘Indigo Gets Married‘ by Jami Attenberg in Guernica
• ‘Notes from the Island‘ by Akumbu Uche on Brittle Paper
• ‘For Sale‘ by Claire Fuller on her blog
• Two poems by Doireann Ní Ghríofa on And Other Poems
• Extracts from Black Rainbow by Rachel Kelly (partially read by Dominic West)
• ‘Goldilocks‘ by Angela Readman on Ink Sweat and Tears
• ‘The Quantum Theory of Suffering or Why I Look at the Moon‘ by Natalie Diaz on Guernica
• ‘Hopper’s Women‘ by Emily Carroll in Guernica
• Extract from The Versions of Us by Laura Barnett on One Book Lane
• Two poems by Heather Altfeld on Electric Literature
• ‘Colored Hats‘ by Gertrude Stein in The Guardian
• ‘Anna and Sigm‘ by Sharon Kivland in 3:am

The lists:

• 7 of Margaret Atwood’ Apocalypses, Ranked from Pretty Survivable to Totally Terrifying on Bustle
• Arab Women Writers Recommend Their Favorite Arab Women Writers on Arabic Literature (in English)
• 24 Things No One Tells You About Book Publishing, Curtis Sittenfeld on Buzzfeed
• First Fiction Spring 2015: Anticipated Debuts on Publishers Weekly
• The Best Marriage Plots in Novels on Huffington Post
• From Zadie Smith to Helen Oyeyemi and Emily Brontë, bestselling female authors who nailed their biggest hit novels under the age of 30 in Stylist
• Best Books to Read in 2015 in Harper’s Bazaar
• 2015 Fiction Preview, Part 1: 30 Books to Keep You Warm This Winter on Read Her Like an Open Book
• Ankara Press Debuts 6 African Romance Novels That Are Better Than Mills & Book on Brittle Paper
• 10 Books to Read This January in Red
• 6 Hot Romances Coming in January on Huffington Post
• Your 7-Day African Literary Make-Over on Brittle Paper

And the best things I’ve read this week:

• Mariya Karimjee, ‘Damage‘ (on FGM) on The Big Roundtable
• Daniel Dalton rewrites Harry Potter from Hermione’s point of view, ‘Hermione Granger and the Goddamn Patriarchy‘ (I know it was written by a man but I’m justifying it by 1. source text written by a woman; 2. feminism.)
• Beluah Maud Devaney, ‘How to Interview a Woman Writer‘ in The Toast