Books of the Year 2017

Due to life interfering, I read half as many books this year as I have in previous years. What I have read though has, on the whole, been incredibly good. I’ve selected the ten I loved the most and included five others I highly recommend at the end of the piece. If I’ve reviewed the book in full, there’s a link at the bottom of the description.

When I Hit You: Or, A Portrait of the Writer as a Young Wife – Meena Kandasamy

The story of a marriage between a young, educated woman and a university lecturer. When I Hit You is both a tale of domestic violence and of a woman becoming a writer by writing her way out of her situation. Kandasamy’s experimental style frames the experience as though the narrator is witnessing the horror brought upon her. It’s brutal, it’s thoughtful, it’s shocking. It’s incredibly relevant in 2017.

You can read my full review and watch my interview with Meena Kandasamy here.

What It Means When a Man Falls from the Sky – Leslie Nnedi Arimah

Hands down the best short story collection I’ve ever read. Arimah does things with the form that shouldn’t be possible. In the first story, for example, the protagonist is held in a moment while the back story of everything that led to that point is revealed and yet the tension holds sharp. Many of the stories are concerned with the way women are shaped by/shape themselves around men, all of them carry an emotional punch.

Homegoing – Yaa Gyasi

Two sisters, Effia and Esa, born in West Africa in the 1770s are separated. One becomes the wife of a slave trader, the other is shipped to America as a slave. Gyasi follows the two lines to the present day. Each chapter focuses on the next branch of the family tree and works as a short story in its own right. Alongside this runs the story of the creation of the black race, its reasons and consequences. It’s an incredible achievement.

My full review is here.

Attrib. and Other Stories – Eley Williams

Williams’ debut short story collection is full of animals, clever word play, humour and love. While all of these elements contribute to intelligent, engaging stories, it’s the emotions at the core of the tales which elevate them to something special. The reader’s transported to the position of the narrator, feeling their anticipation at the potential lover standing next to them or their loss at the one who’s just left.

You can read my full review and watch my interview with Eley Williams here.

First Love – Gwendoline Riley

Neve is a writer in her mid-thirties, exploring her marriage to an older man, Edwyn, and the impact previous relationships, both romantic and familial, have had on who they are now. Almost everyone in Neve’s life is abusive in some form; Riley conveys this through a range of incidents told from Neve’s perspective, leading the reader to question whether or not she’s telling the truth. Searing and utterly pertinent in 2017.

My full review is here.

Vernon Subutex 1 – Virginie Despentes (translated by Frank Wynne)

Vernon Subutex once ran a legendary record shop in Paris. When his benefactor and musician friend, Alex Bleach, dies, Vernon is left homeless. Subutex moves between the houses and apartments of friends and acquaintances before ending up on the streets. Despentes gives a searing commentary on Western society’s views of a range of hot topics: social media, hijabs, the rich, sex workers and a whole lot more.

The End We Start From – Megan Hunter

An unnamed narrator gives birth to a boy as floodwaters rise in the U.K. Soon London is covered and the narrator and her new family can’t return to their flat. They move to their in-laws and then on to a refugee camp. Also works as a metaphor for the first year of motherhood. Taut and compelling.

My full review is here.

Homesick for Another World – Ottessa Moshfegh

A collection of stories about ordinary people at their worst, it’s a mirror held up to today’s society: to the misogyny, to the privilege, to the hypocrisy. Some of the characters know better but can’t be arsed to do better; some of them make an attempt but fall flat at the first hurdle. The collection’s full of characters for whom, essentially, nothing changes. Only Moshfegh could pull that off.

My full review is here.

Elmet – Fiona Mosley

“Daddy“ builds a house in a copse in the woods for himself and his teenage children, Daniel and Cathy. The land on which he builds is owned by Price, the most influential man in the area. Daddy is fully aware of the antagonism this will cause, but, as the best bare-knuckle fighter in the U.K. and Ireland, he wields his own form of power. From this moment, the two men are pitted against each other; it’s a matter of when, not if, the violent tension will explode. An exploration of gender roles and what happens if you transgress them, as well as a commentary on class and privilege.

I wrote about why Elmet is an important working class novel for OZY.

Seeing Red – Lina Meruane (translated by Megan McDowell)

At a party, Lucina feels a pain and blood begins to fill her eyes. She begins to go blind. The doctor tells her he can do nothing other than monitor the situation, leaving her to adjust to a life in which she has to rely on others to help her. She is furious and her anger increases as the story progresses. Told in flash length chapters with short, spiky, repetitive sentences. Horrifying and brilliant.

You can read my full review and watch my interview with Lina Meruane here.

And the highly recommended:

Tinman – Sarah Winman

Ellis and Michael are inseparable until Annie arrives in their lives and Ellis marries her. A story of hidden love, friendship, AIDS and art. Beautiful and heart-wrenching.

A Book of Untruths – Miranda Doyle

A memoir about Doyle’s family. Every chapter reveals a lie that’s been told while questioning the reliability of memory and the purpose of memoir writing.

A Manual for Heartache – Cathy Rentzenbrink

An indispensable guide for when the worst happens to you or someone close to you. My piece about it is here.

The Lonely Hearts Hotel – Heather O’Neill

The love story of performers Rose and Perrot and also a scathing commentary on patriarchal society’s treatment of women, particularly with regards to sex and shame.

My full review is here.

The Other Half of Happiness – Ayisha Malik

The sequel to Sofia Khan Is Not Obliged. Sofia’s married to Conall but there’s a whopping great secret he hasn’t told her. Has a punch the air, feminist ending.

My full review and interview with Ayisha Malik is here.

In the Media, April 2017, 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 as traditional media are likely and the categories used are a guide, not definitives.

Photograph by Murdo MacLeod

 

Women have been dominating the prize wins for the past fortnight. Hollie McNish won the Ted Hughes Prize and Kiran Millwood Hargrave won the Waterstones Children’s Book Prize with The Girl of Ink and Stars.

While The Baileys Women’s Prize for Fiction shortlist was announced. Rebecca May Johnson writes ‘Notes on . . . the Baileys Women’s Prize‘ (and reading women more generally) in the Financial Times. There are interviews with several of the longlisted writers on the prize’s site: Madeleine Thien, Naomi Alderman, Linda Grant, Yewande Omotoso, Heather O’Neill, Fiona Melrose, Eimear McBride, Emma Flint.

The best of the rest:

On or about books/writers/language:

• Claire Armistead, ‘Is Hilary Mantel’s view of historical fiction out of date?‘ in The Guardian
• Amy Bernhard, ‘Writing Behind Walls‘ on Catapult
• Catherine La Sota, ‘Reading Across America: A Scene Grows in Queens‘ on Literary Hub
• Alicia Maria Meier, ‘Marta Rojals’s “The Faithful,” and the American JASP‘ on Words Without Borders
• Megan Hunter, ‘Fiction to see the world through‘ in The TLS
• Vincent Scarpa, ‘The Uncanny Magic of Joy Williams, in a Single Paragraph‘ on Literary Hub
• Laura Waddell, ‘Is it time for a Handmaid’s Tale sequel, to reckon with the Trump era?‘ in The Guardian
• Aaron Bady, ‘Has Imbolo Mbue Written the Great American Novel?‘ on Literary Hub
• Mallory Soto, ‘Laura Kinney, Literary Fiction, and Coming-of-Age‘ on Bookriot
• Emily Temple, ‘A Brief History of Robots‘ on Literary Hub
• Terri Kapsalis, ‘Hysteria, Witches, and the Wandering Uterus: A Brief History‘ on Literary Hub
• Ayana Mathis, ‘On Impractical Urges‘ in Guernica
• Sophie Hughes, ‘Ferrante Fever and Knausgaard nuts‘ in The TLS
• Amelia Ayrelan Iuvino, ‘What Does it Mean to Set Your Novel at Harvard?‘ on Literary Hub
• Margaret Atwood, ‘on What ‘The Handmaid’s Tale’ Means in the Age of Trump‘ in The New York Times
• Edmund Gordon, ‘In Which Angela Carter Gives No Fucks‘ on Literary Hub
• Sophie Gilbert, ‘The Dark Morality of Fairy-Tale Animal Brides‘ on The Atlantic
• Fiona Taylor, ‘The Handmaid’s Tale: The Lost Pence Prequel‘ in The New Yorker
• Sarah Blackwood, ‘Parenting by the Books: ‘Little Women’‘ on The Hairpin
• Emily Temple, ‘Life Advice from Adrienne Rich‘ on Literary Hub
• Danika Ellis, ‘Let’s Talk About Star-Crossed: Why We Need Bisexual Kids Books, Backlash or Not‘ on Bookriot
• Naomi Alderman, ‘Dystopian dreams: how feminist science fiction predicted the future‘ in The Guardian
• Jami Attenberg, ‘Stop Reading My Fiction as the Story of My Life‘ in The New York Times
• Salena Godden, ‘How I Did It‘ on The Poetry School
• Scarlett Thomas, ‘Why I was wrong about children’s fiction‘ in The Guardian
• Ellen Feldman, ‘A Brief Literary History of Birth Control‘ on Literary Hub
• Laura Kaye, ‘on portraying England from a foreigner’s perspective‘ on the Literary Sofa
• Valerie Derbyshire, ‘Beauty and the Beast was originally a feminist fable disguised as marriage guidance‘ on The Conversation
• Bidisha, ‘The great contradiction‘ in The TLS
• Teri Vlassopoulos, ‘When I Think About Giving Up Writing‘ on Catapult
• Alexandra Alter, ‘New Crop of Young Adult Novels Explores Race and Police Brutality‘ in The New York Times
• Jami Attenberg, ‘Topography of a Novel: All Grown Up‘ on Blunderbuss
• Kathryn Heyman, ‘Fairytales are not just harmless, innocent fun. They need to be interrogated‘ in The Guardian
• Susan Braudy, ‘‘Sisters in Misery’: What It Was Like to Interview Joan Didion at Home in 1977‘ on Jezebel

Personal essays/memoir:

• Kim McLarin, ‘Outrunning Eshu: On Finally Seeking Treatment for Depression‘ on Literary Hub
• Marissa Bate, ‘Adventures aren’t always on the other side of the world‘ on The Pool
• Daisy Buchanan, ‘I’ve been an agony aunt since I could talk‘ in The Guardian
• Laura Turner, ‘How Do You Inherit Anxiety?‘ on Catapult
• Meg Elison, ‘El Hugé‘ on Catapult
• Melissa Febos, ‘Playing Cupid for a Gay Friend on a (Mostly) Straight Cruise‘ in The New York Times
• Ethel Rohan, ‘Bringing It Back Up‘ on The Hairpin
• Sinéad Gleeson, ‘Your Chroma‘ on RTÉ
• Melinda Salisbury, ‘Was my grandmother a witch?‘ in The Guardian
• Amy Jo Burns, ‘Writing, Risk, and Moonshine‘ on Electric Literature
• Dionne Ford, ‘Don’t Call Slaves “Immigrants”‘ on Literary Hub
• Melissa Wyse, ‘Learning to Live Alone Through the Legacy of Mary Tyler Moore‘ in The Rumpus
• Whitney Templeton, ‘The Evolution of a Trigger‘ on The Rumpus
• Elisabeth Fairfield Stokes, ‘Life and Breath: On Pregnancy and the Spirit World‘ on Catapult
• Gillian Jacobs, ‘I Can’t Have Enough Mothers‘ on Lenny
• Dina Nayeri, ‘How Love Ends: Scenes from a Refugee Hotel‘ on Electric Literature
• Maria Browning, ‘Doll in Shadow‘ on Guernica
• Xialou Guo, ‘Leaving the Village: on Traumatic Uprooting‘ on Literary Hub
• Alys Fowler, ‘There is no such thing as coming out: it’s a daily negotiation‘ in The Guardian
• Eve Peyser, ‘Trump, Trolls, and Rediscovering My Jewish Identity‘ on Vice
• Porochista Khakpour, ‘Why this Persian New Year is different‘ on CNN
• Ashley Ford, ‘Seeing My Body with Fresh Eyes‘ on Cup of Jo
• Laurie Frankel, ‘We adopted by choice not necessity‘ in The Guardian
• Ella Wilson, ‘Take Care: Mothers, Daughters, and Inheriting Self-Hatred‘ on Catapult
• Daisy Buchanan, ‘I am 32, successful and I am in therapy. This is why‘ on The Pool

Feminism:

• Helen Charman, ‘Literary Representations of Maternity‘ on Women Are Boring
• Heather Kirn Lanier, ‘Superbabies Don’t Cry‘ on Vela
• Jia Tolentino, ‘The Infantilizing Ways We Talk About Women’s Ambition‘ in The New Yorker
• Leslie Jamison, ‘In the Shadow of a Fairy Tale‘ in The New York Times
• Rebecca Traister, ‘Of Course Donald Trump Doesn’t Think Bill O’Reilly Did Anything Wrong‘ in The Cut
• Salimah Perkins, ‘Choosing Sides‘ on Queen Mob’s Tea House
• Minda Honey, ‘Women of Color in Wide Open Spaces‘ on Longreads
• Jess Zimmerman, ‘Why Is Male Anger So Threatening?‘ in Dame
• Jessica Valenti, ‘Mike Pence doesn’t eat alone with women. That speaks volumes‘ in The Guardian
• Phoebe Maltz Bovy, ‘It’s time to drop the vagina as a protest symbol‘ in The Washington Post
• Morgan Jerkins, ‘How America Fails Black Girls‘ in The New York Times
• Sandra Newman, ‘Why men rape‘ on Aeon
• Mia Violet, ‘Taking Selfies As A Form Of Self Care‘ on Femsplain
• Brittney McNamara, ‘White Women Are Less Likely to Protect Black Women From Sexual Assault, Study Finds‘ in Teen Vogue
• Roe McDermott, ‘There is no perfect victim. And there is no perfect way to respond to sexual assault‘ on The Pool
• Morgan M Page, ‘Trans Women Shouldn’t Have To Constantly Defend Their Own Womanhood‘ on Buzzfeed
• Cathy Young, ‘The Other Women’s Movement‘ on Foreign Policy
• David Smith, ‘Chimamanda Ngozi Adichie on transgender row: “I have nothing to apologise for”‘ in The Guardian

Society and Politics:

• Jeanette Winterson, ‘We need to be more imaginative about modern marriage‘ in The Guardian
• Taffy Brodesser-Akner, ‘The High Price of Leaving Ultra-Orthodox Life‘ in the New York Times
• Monica Mark, ‘Poor, Gifted and Black‘ on Buzzfeed
• Diana Darke, ‘A sarin attack and a swing in US policy‘ in The TLS
• Carla Bruce-Eddings, ‘Am I Going to Have Another Baby?‘ in The Cut
• Emily Holleman, ‘Is Hillary Clinton a Modern-Day Cleopatra?‘ on Literary Hub
• Hannah Goldfeld, ‘The Cool Brooklyn Dentist Who Wants Your Teeth to Look As Nice As Her Instagram Feed‘ in The Cut
• Suzanne Moore, ‘Labour is weak and immoral – as shown by Livingstone’s refusal to apologise‘ in The Guardian
• Alana Semuels, ‘Why It’s So Hard to Get Ahead in the South‘ in The Atlantic
• Zara Rahman, ‘Where Are You Really From‘ on Real Life
• Jeanne de Montbaston, ‘My Daughter’s Birth‘ on Reading Medieval Books
• Linda Besner, ‘Sleep Country‘ on Real Life
• Hilary Mantel, ‘The Tories will never confess to their social wrecking age‘ in The New Statesman
• Alana Massey, ‘Broken Links‘ on Aeon
• Sim Bajwa, ‘Multiculturalism hasn’t failed – but the rhetoric surrounding immigration has become poisonous‘ on The Pool
• Elena Passarello, ‘The Sense of an Endling‘ on Longreads
• Lisa Miller, ‘John Hinckley Left the Mental Hospital Seven Months Ago‘ in New York Magazine

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

• Jonatha Kottler, ‘Shopping at size 24: ‘The sales assistant shakes her head at me’‘ in The Guardian
• Caitlin McDonnell, ‘On Homeland‘s Carrie Mathison, Mental Illness, & the “Ugly Cry”‘ on Weird Sister
• Sophie Atkinson, ‘Feminism and the Pursuit of Relentless Happiness‘ on Electric Literature
• Christine Vines, ‘The Damage of ‘Crazy Ex-Girlfriend’‘ on Electric Literature
• Laura McKeon, ‘Dressing Like Ladies‘ on Hazlitt
• Rachel Klein, ‘Smurfette’s Roots‘ on Hazlitt
• Lauren Schwartzberg, ‘Why Millennial Pink Refuses to Go Away‘ in The Cut
• Amy Wallace, ‘The Hollywood Exec and the Hand Transplant That Changed His Life‘ in Los Angeles Magazine
• Catherine Love, ‘Offside: the shocking moment female footballers were banned for 50 years‘ in The Guardian

The interviews/profiles:

• Durga Chew-Bose on Hazlitt
• Edna O’Brien on Kenyan Review
• Eleni Sikelianos in Numeró Cinq
• Sarah Waters in The Guardian
• Ursula K. Le Guin on Electric Literature
• Claire Fuller on Reading Women
• Julie Buntin on Electric Literature
• Ariel Levy on Electric Literature and The Fifth Sense
• Angie Thomas in The Guardian and The Cut
• Deb Olin Unferth on Electric Literature
• Elena Favilli and Francesca Cavallo in The Bookseller
• Valeria Luiselli in Brooklyn
• Aura Xilonen on Electric Literature
• Ana Marie Cox on Literary Hub
• Wioletta Greg and Eliza Marciniak on The Man Booker Prize
• Fay Weldon in The Guardian
• Brit Bennett on The Millions
• Marina Benjamin on Slate
• Maggie Nelson in The Cut
• Katie Kitamura in The LA Times
• Megan McDowell on Literary Hub
• Emma Richler on Maisonneuve
• Eve Ainsworth on Bookriot
• Anna Journey on Electric Literature
• Eileen Myles in The Irish Times
• Eula Bliss in The Los Angeles Review of Books
• Khadijah Queen on The Rumpus
• Emily Robbins on Hazlitt
• Helen McClory on Burning House Press
• Lidia Yuknavitch on Pen America
• Patty Yumi Cottrell on Literary Hub
• Nell Stevens in Vogue

The regular columnists:

• Ijeoma Oluo on The Establishment
• Lucy Mangan in Stylist
• Roxane Gay in The Guardian US
• Caitlin Moran in The Times
• 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
• Lizzy Kremer on Publishing for Humans
• Juno Dawson in Glamour
• 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

The Lonely Hearts Hotel – Heather O’Neill

I’m beginning this review with a trigger warning for sexual violence. There are occurrences throughout the novel but it opens with an incident that’s shocking and, I feel, it’s impossible to write a review of the book without discussing it.

A young girl’s body is the most dangerous place in the world, as it is the spot where violence is most likely to be enacted.

The book begins with the births of our two protagonists – Pierrot and Rose. Pierrot is born to a girl who is ‘only twelve years old’. Her cousin, a soldier, comes to see her in his uniform and tells her he’ll give her a medical examination to see if she’s fit to be a soldier too.

He’d said that he had to stick his penis inside her in order to test her internal temperature. When he was done, satisfied with her perfect health, he had handed her a little red ribbon that had come off a cake box. Then he pinned it to her jacket as a badge of honour for her grand consummated service to her country.

The girl is sent to the Hôpital de Misericorde to give birth in shame like other young girls.

These girls had thrown their whole lives away just to have five lovely minutes on a back staircase. Now, with strangers living in their bellies, they had been sent into hiding by their parents, while the young fathers went about their business, riding bicycles and whistling in the bathtub.

Pierrot’s father is named – Thomas – but his mother is only ever know by the name the nuns at the hospital give her – Ignorance.

Rose’s mother is eighteen.

[She] hadn’t particularly liked Rose’s father. The boy waited for her on the corner of the street every day. He would always beg her to come into the alley with him and let him have a peek at her breasts. She decided to give in one afternoon. Somehow she thought that if she made love to him, he would go away and leave her alone. Which, actually, proved to be the case.

O’Neill clearly begins the novel this way to shock the reader. I’ve quoted at length from the first few pages because I think it’s important to get a sense of the tone of the book. O’Neill is firmly on the side of women and girls and scornful of the way in which society treats them – not just men but also other women who’ve bought into patriarchal ideas of how women should behave. 

She also explores the idea of sexual shame and the impact it can have on people’s behaviour; Pierrot is repeatedly abused at the orphanage by one of the nuns. Also…

At the orphanage, those caught masturbating had their hands whipped with a ruler fifty times. And then they would stand on a chair in the common room wearing red gloves so that everyone would know what they had done. There was a different little boy standing up on the chair every few weeks. And then one day there was the lovely Rose. Nobody could believe it. But perhaps most shocking was the look on her face. She stood with her chin up in the air, a look close to pride on her face.

Pierrot sometimes told people that that was the moment he fell in love with Rose.

At the heart of The Lonely Hearts Hotel is the love story of Pierrot and Rose. Pierrot’s an excellent pianist and acrobat; Rose dances and acts, her most successful performance taking place with an imaginary bear. After they’re seen by the cousin of the prime minister in a play put on by the orphanage, they begin to get regular work performing in the houses of the rich. Just at the point where it looks as though things might begin to work out for them, life intervenes. There are gangsters, prostitution and heroin waiting to derail the pair of them. For some time, they will lose themselves and each other.

O’Neill skewers society, its obsession with sex and money and how both can be derailed by love. There are lots of fantastic lines, I highlighted so many:

While the only females in society who had any real bargaining power were the dopey little virgins with rags, safety-pinned to their underwear, filling up with blood the colour of fallen dead rose petals. The minute they gave themselves up, they really had no agency whatsoever.

“I’ve had it up to here with crazy women. All you have to do is be fucking pleasant and spread your legs, and you are taken care of. You don’t know how easy you have it.”

Everything written by any woman was written by all women, because they all benefitted from it.

If this sounds too depressing (and O’Neill does emphasise the miserable by setting the majority of the action during The Great Depression), there is light in Pierrot’s playing, Rose’s performances and a surprisingly optimistic, although not saccharine, ending.

The Lonely Hearts Hotel probably isn’t for everyone – if the reactions of the Baileys Prize shadow panel are anything to go by it’s definitely marmite – but I absolutely loved it.

 

Thanks to riverrun for the review copy.

The Baileys Women’s Prize for Fiction Longlist 2017

It’s after midnight and I’m on a train, typing this on my phone. The Baileys Women’s Prize for Fiction Longlist 2017 has just been announced and my initial thought is: wow.

Wow that books I loved and hoped would be on the list are there: Midwinter by Fiona Melrose; The Essex Serpent by Sarah Perry; The Power by Naomi Alderman; Stay With Me by Ayòbámi Adébáyo; First Love by Gwendoline Riley; The Lesser Bohemians by Eimear McBride; Little Deaths by Emma Flint.

Wow that I predicted seven of the list – my highest score ever.

Wow that there are 16 books, rather than the promised 12. It shows that the past 12 months have been exceptional for writing by women. However, with just over three weeks until the shortlist announcement, it does make things challenging for the Shadow Panel.

And wow that Homegoing by Yaa Gyasi isn’t on the list. Every year this prize misses an exceptional book and this is a stunning omission, made all the more noticeable when there are only three books by women of colour on a list of sixteen.

The list in full. I’ve linked to my reviews for those I’ve already covered and will add to this as I read the rest:

First Love – Gwendoline Riley

Stay With Me – Ayòbámi Adébáyo

Do Not Say We Have Nothing – Madeleine Thien

The Essex Serpent – Sarah Perry

The Dark Circle – Linda Grant

The Lesser Bohemians – Eimear McBride

The Mare – Mary Gaitskill

Barkskins – Annie Proulx

The Power – Naomi Alderman

Little Deaths – Emma Flint

The Woman Next Door – Yewande Omotoso

Hag-Seed – Margaret Atwood

The Gustav Sonata – Rose Tremain

The Lonely Hearts Hotel – Heather O’Neill

Midwinter – Fiona Melrose

The Sport of Kings – C.E. Morgan

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

The Girl Who Was Saturday Night – Heather O’Neill

The Girl Who Was Saturday Night tells the story of twenty-year-old Nouschka Tremblay and her twin brother, Nicholas. As the novel begins, Nouschka has signed up for night school to try and complete her high school diploma – both her and Nicholas dropped out of school before completing their qualifications.

“You were better in school than he was. He was always antagonizing the teachers. It’s good to do something by yourself. I used to beat you to stop you from sleeping together in the same bed, but you still did. You ate out of the same plates. You wore the same clothes. You said the same things at the same time. You took baths together. It was disgusting.”

…

When we were very little, I don’t even think that Nicholas and I were aware that we were different people. It was only when we started dating that we were able to spend any time away from each other. In these heightened experiences we were distracted from missing each other.

Brought up by their grandparents after their mother left them on her doorstep, Nouschka and Nicholas are the children of famous seventies Québécois folk singer Étienne Tremblay.

Outside of Québec, nobody had even heard of him, naturally. Québec needed stars badly. The more they had, the better argument they had for having their own culture and separating from Canada.

Tremblay’s a ‘bad boy’: in and out of prison, claims to have slept with hundreds of women. He took his kids on stage and on television talk shows with him so Nouschka and Nicholas became famous at a very young age too. He continues to wander in and out of their lives when he feels like it, bringing a film crew with him who wants to make a documentary about the family.

Nicholas makes his living as a thief holding up small business with no more than thirty dollars in the till. It’s a life he decided upon after fathering a child, Pierrot, when he was fifteen. Nouschka describes his life of crime as ‘an attempt to be responsible’, Nicholas being unable to make enough money to pay child support. Although he attempts to have a better relationship with his child than his own father had with him, it’s clearly not going well.

Two things drive the plot, the build-up to the Québec referendum on separating from Canada and the twins’, but particularly Nouschka’s, attempts to come to terms with being abandoned by their mother.

The story’s interesting, although possibly overlong. Nouschka and Nicholas’ lives are so far removed from the average person’s – more bohemian than anything – that it feels quite voyeuristic, as though the reader has become one of the people whom Étienne Tremblay wanted to parade his kids in front of.

It’s some of the lines that made this book for me though. There are moments where O’Neill expresses an idea perfectly, like this one just after Nouschka and Nicholas have argued about their mother:

We didn’t say anything to each other after that. We just lay there with our hearts beating. There is nothing as frustrating as being consumed with rage over someone and knowing that you aren’t even on their mind. You want your enemy to be engaged in a struggle until the death with you. Otherwise you are fighting yourself. I mean we are all essentially only in wars against ourselves, but we don’t like it to be so painfully obvious.

An interesting novel about familial relationships and the impact they can have on your lives. O’Neill finishes with different conclusions for different characters showing that while some of the behaviour and interactions may be recognisable, each experience is unique.

 

Thanks to Quercus for the review copy.

The Bailey’s Women’s Prize for Fiction Longlist 2015

It’s here! The Bailey’s Women’s Prize for Fiction Longlist 2015 is as follows:

Rachel Cusk: Outline

Lissa Evans: Crooked Heart

Patricia Ferguson: Aren’t We Sisters?

Xiaolu Guo: I Am China

Samantha Harvey: Dear Thief

Emma Healey: Elizabeth is Missing

Emily St. John Mandel: Station Eleven

Grace McCleen: The Offering

Sandra Newman: The Country of Ice Cream Star

Heather O’Neil: The Girl Who Was Saturday Night

Laline Paull: The Bees

Marie Phillips: The Table of Less Valued Knights

Rachel Seiffert: The Walk Home

Kamila Shamsie: A God in Every Stone

Ali Smith: How to be both

Sara Taylor: The Shore

Anne Tyler: A Spool of Blue Thread

Sarah Waters: The Paying Guests

Jemma Wayne: After Before

PP Wong: The Life of a Banana

I’ve read and reviewed six of those already, if you hover over the titles, I’ve linked to my reviews.

Initial thoughts are I’m absolutely thrilled for Lissa Evans whose book I love and made my end of year list last year. Also very pleased for Sara Taylor whose debut I’ve read but not posted my review of yet (it’s published later this month), which is very good. I’ve got lots of reading to do but many of the books there are books I’ve had in my to be read pile for a while! (I also need to apologise to the person who commented on my wish list and mentioned Heather O’Neill’s book; I didn’t think it was eligible and clearly I was wrong. I’m pleased it comes highly recommended though.)

I’m looking forward to reading the rest and discussing with the rest of the shadow panel. Please do join in and let us know what you think of the list and any of the books you read.