F Street Review

Friday, October 30, 2009

Quote of the Week, #2

To me, the greatest pleasure of writing is not what it's about, but the music the words make." Truman Capote

FBI buries VS Naipaul alive!

An FBI report has mistakenly declared the Nobel laureate dead

Eye-popping news ... VS Naipaul. Photograph: Eamonn McCabe

Reports of the death – and the degree of royal preferment – of Nobel laureate VS Naipaul have it seems been greatly exaggerated. A bizarre discovery by the website The Smoking Gun – the one which also uncovered James Frey's porkies – found that an FBI agent referred to "the late Lord VS Naipaul, a Nobel prize winning author" in court documents unsealed yesterday.

Now, Naipaul might not have published a new book since 2007's A Writer's People, or won a literary prize since he took the Nobel in 2001 for "having united perceptive narrative and incorruptible scrutiny in works that compel us to see the presence of suppressed histories", but he's still very much alive.

The FBI, rather confirming the estimation of a character in David Mamet's film Homicide that they "couldn't find Joe Louis in a bowl of rice", also – posthumously, as it were – elevated Sir Vidia to the House of Lords.

The poor man – it must be a very strange feeling to become a "late". One consolation, however, may be that he shares this profoundly uncomfortable experience with Alfred Nobel. Nobel, whose renown during his own lifetime rested on having invented dynamite, was profoundly shaken when a French newspaper rather precipitously declared that "le marchand de la mort est mort". After that trauma, the would-be pacifist's strategy for redeeming his name was to create a set of enormously generous prizes.

Alison Flood
Wednesday 28 October 2009
The Guardian

Martin Amis's problem is not Katie Price, but women

On and off the shelf ... Martin Amis and Katie Price. (Photograph: Rex)

It's always a little bit astonishing in these relatively enlightened times when someone who would like to be regarded as an important contributor to the cultural agenda relies on lazy, casual misogyny to attempt a critique. But it's the approach that Martin Amis has taken in adding his thoughts to the current (somewhat tired) debate about celebrity writers creaming off the profits of talented ones, when he remarked of Katie Price (widely recognised as his key literary rival) that "She has no waist, no arse ... an interesting face ... but all we are really worshipping is two bags of silicone."

Now, I doubt that Amis has flickered across Price's radar; nor, if he has, that she cares much about his opinion since it would appear that she is currently preoccupied with her romance with her cage-fighting boyfriend and not much with writing books, which she employs someone to do on her behalf. But while Price may not be troubled by Amis's remarks on a personal level, I am: because they speak to the continued endurance of a surprising tolerance for misogyny from vaunted men of letters who came of age as writers in an era when the loathing of women for being women – rather than for being crap writers, or unkind people, or whatever – was still legitimate.

It may be diverting for Amis to imagine that legions of his would-be readers have been distracted from his work by Katie Price's cleavage: perhaps he thinks at the sight of her latest pony book, people on the verge of purchasing The Rachel Papers or London Fields think, "ooh! Breasts!" and toss his work aside. But this apparent anxiety is misplaced: Amis and Price's target markets do not intersect. It is risible to suggest that they do, but no matter: it's much easier, and simpler, for him to blame her décolletage for his decreasing sales and critical acclaim than to entertain the terrifying thought that his writing may no longer be quite as firmly on the pulse as it once was.

When writers like Amis, or Philip Roth – who declared this week that novel-reading would be a fringe activity in 25 years – make their apocalyptic proclamations about the state of publishing, it seems apparent that their pessimism may in fact be rather strongly influenced by anxiety that their new work no longer carries the kind of cultural clout they have grown used to, not because people aren't reading novels, but because people aren't reading their novels. And part of the reason for that may be that with the bulk of modern consumers of fiction being women, the particular brand of literary writing in which a particular aptitude for fellatio suffices as characterisation for a woman is less interesting, or resonant, than it once was.

I very much doubt that Amis is going to change at this stage – I do admire some of his immense skills as a writer, but remarks like this underscore my lack of interest in him as a cultural commentator. But I'm heartened, at the same time, by a new generation of male writers – David Vann and Joshua Ferris are two who I've recently read who come to mind – who are producing ground-breaking work that addresses issues of masculinity in fresh ways without relying on lazy misogyny; who are too busy to bother with worrying that anything that fails to preserve the long-expired literary status quo of the 70s and 80s is a sign of an apocalypse.

Jean Hannah Edelstein
Wednesday 28 October 2009
The Guardian

Man Booker Prize 2009 winners, including Hilary Mantel

Man Booker Prize 2009: Hilary Mantel poses with her book Wolf Hall

Does winning the Booker mean a boost in sales? And which of the previous winners has sold the most?

Hilary Mantel won the 2009 Man Booker Prize for Wolf Hall, but will sales match those of previous winners? Photograph: Luke MacGregor/Reuters

Hilary Mantel won the £50,000 Man Booker Prize yesterday for her historical novel Wolf Hall, which examines the life of Thomas Cromwell, an advisor to Henry VIII.

But does winning the Booker guarantee an author a boom in sales? Here at the Datablog we've pulled together Nielsen BookScan's sales figures of all 43 winners of the title since its inception in 1969 (the prize was a tie in 1974 and again in 1992).

Nielsen's data runs from 1998 onwards, so sales of older books aren't directly comparable, but the runaway winner of recent years is Life of Pi by Yann Martel, which won in 2002 and has taken over £9m and sold 1.3m copies so far, more than twice as many as Arundhati Roy's The God of Small Things in second place.

A look at the spreadsheet also reveals that Jonathan Cape is the publisher to sign to if you want to improve your chances of winning the Booker - seven of the previous winning novels have come from them, closely followed by Faber & Faber with six.

And if you really have your heart set on a Booker, the words to include in the title of your novel are Sea, Ha, God, Tiger and Road, as our Wordle shows.

Click on the link to access the full list of winners, their sales figures and a link to the Guardian review of each book (many courtesy of Sam Jordison's Booker Club blog). Let's see what you can do with the data.

Katy Stoddard
Wednesday 7 October 2009
The Guardian

Why has John Le Carré left his publisher out in the cold?

Divorces everywhere. First Peter and Jordan, now John Le Carré and Hodder.

Why should the fact that a novelist changes the merchandiser of his books be of more headline interest than, say, Martin Amis changing his dentist? Who cares? When the book trade was a cottage industry we did; it's questionable if we do any more. You can remember the title but can you recall, from the top of your head, who published Hilary Mantel's Wolf Hall? (Answer below.)

Why do authors stay loyal to publishers? Gratitude is one reason. After 20-odd rejections it was Faber that finally plucked William Golding's grubby Lord of the Flies from the slush pile. Grateful comradeship with his editor, Charles Monteith, kept Golding at Faber for the whole of his long career.

Editors often mean more to an author than publishers. David Lodge seems to have remained attached to Secker because he got on so well with John Blackwell (a brilliant worker on manuscripts, and one of the heroic drinkers of his day). Look at the dedication to AS Byatt's latest novel – it is to her editor, Jenny Uglow. A dedication to "Chatto and Windus"? Absurd.

Nonetheless, for some authors, loyalty brings with it the nagging sense of being "owned". It breeds resentment. Thackeray suggested publishers' carpets should always be red, because – like the butchers in Smithfield market – they traded in authors' blood and brains.

Most authors, at the start of their careers, get snubbed or – in a few cases, robbed – by publishers. They can develop a deep-seated hatred of the publishing breed – "brigands" all of them, as Dickens (the least publisher-loyal of writers) called them.

Resentment is the most radioactive of emotions. Gratitude, like Golding's, usually has a much shorter half life. And then, of course, there are agents, those serpents in the literary garden (Le Carré has dumped that partner as well). It was the so-called "jackal", Andrew Wylie, who enticed Amis away from his long-standing literary agent, Pat Kavanagh. It resulted in a broken friendship with Kavanagh's husband, Julian Barnes, and a letter which, as Amis recalls, had a lot of fs in it. As in f-words.

So why has Le Carré divorced Hodder? More money? Prettier dustjackets? Artistic restlessness? Most likely, it's something else. Who, to answer the question above, is Mantel's publisher? Fourth Estate. Well, no, it isn't. Fourth Estate is these days part of the HarperCollins Anglo- American megacombine. Hodder? A division of the Anglo-French giant Hachette. Where publishers are concerned, there's no identifiable editorial friend to be loyal to any more. So why be loyal?

John Sutherland
Thursday October 29 2009
The Guardian