Tag: comedy

Book notes: Politycki, Skloot, Langford & Grant

Matthias Politycki, Next World Novella (2009/11)

Matthias Politycki’s Next World Novella (translated from the German by Anthea Bell) is the latest title from Peirene Press, which would be enough on its own to interest me in reading the book, as I’ve enjoyed all their previous selections. Add to this that it’s a tale with shifting realities, and my interest only increases. Having read it now, though, it didn’t quite work for me, and I’m not sure I can put my finger on why.

Academic Hinrich Schepp finds that his wife Doro has died at her desk, where she has apparently been editing the attempt at a novel that he abandoned years before. Reading the manuscript, Schepp discovers that Doro’s edits constitute a commentary on their marriage, and that his wife was far from as content as he’d assumed.

The beginning of Next World Novella is especially potent, as the reader is a fraction behind Schepp in realising that Doro has died, and anticipates the jolt which is to come. There’s also effective interplay between the gradual unfurling of Doro’s true feelings and Schepp’s inability/reluctance to perceive the truth (e.g. he refuses to acknowledge the extent to which his abandoned novel reflected his own life). Yet I finished the book feeling that I hadn’t quite grasped something about it, and I can’t put into words what that might be. Next World Novella is well worth a look, though.

Interview with Matthias Politycki (Worlds Without Borders)
Next World Novella elsewhere: Just William’s Luck; Cardigangirlverity; The Independent.

Rebecca Skloot, The Immortal Life of Henrietta Lacks (2010)

A brilliant fusion of biography, social history, and history of science, that tells a fascinating story. Henrietta Lacks was a poor African American woman who died of cervical cancer in 1951; as with other cancer patients at Baltimore’s Johns Hopkins Hospital, a sample of the cells from Henrietta’s tumour was taken, without her knowledge, for research purposes. Those cells were the origin of the HeLa cell line, the first human one to be propagated successfully in the lab (‘immortal’ because they can divide indefinitely in culture). Henrietta’s cells facilitated many medical advances, but it was twenty years before her family even learnt that a sample had been taken.

Remarkable as this story is, it is Skloot’s treatment of it that makes The Immortal Life of Henrietta Lacks. She moves back and forth between time periods and perspectives, weaving together details  of Henrietta’s and her family’s lives; the wider social and scientific contexts; the ethical issues raised by Henrietta’s story; and Skloot’s own experiences meeting and interviewing the Lacks family. There’s great breadth to the material, and Skloot’s control of it is superb. What an engrossing read.

Rebecca Skloot’s website
Interview with Skloot (Wellcome Trust)
The Immortal Life of Henrietta Lacks elsewhere: SomeBeans; Savidge Reads; Take Me Away; Lovely Treez Reads.

David Langford and John Grant, Earthdoom! (1987/2003)

A gloriously over-the-top spoof disaster novel featuring all manner of world-ending phenomena which appear on the scene in quick succession: a spacecraft on a collision course with Earth; an antimatter comet on a collision course with Earth; invading aliens; rabid lemmings; the Loch Ness Monster; a time-travelling Hitler who takes advantage of the handy cloning technology he finds on a Devon farm; sentient superglue… You get the idea.

Langford and Grant relentlessly send up the conventions of the disaster novel, with their cast of gung-ho male scientists and impossibly-attractive-yet-brilliant-except-when-the-guys-need-to-show-how-much-better-they-are female scientists; the plot contrivances which are eventually abandoned altogether when it suits; the characters’ helpful-for-the-reader recapping things they already know; and the prose. For example:

Jeb’s [the Devonian farmer] words rang hollow in his ears, not merely because in these grim days his accent was failing to convince even himself. Ambledyke Farmhouse was sealed against the horrors outside, its boarded-up windows blind as proofreaders’ eyyes. The inner dimness throbbed with a stench of ancient, decaying pizza. (p. 121)

Great stuff.

David Langford’s website
John Grant’s website

Bristol Short Story Prize Anthology, Vol. 3 (2010)

The Bristol Short Story Prize is awarded annually to stories of up to 3,000 words, with the twenty shortlisted pieces being published in an anthology. On the table today is the anthology resulting from last year’s Prize, and a nicely wide-ranging selection it is, too.

The three stories on the winners’ podium are printed first in the anthology, so that seems a good place to start. The story awarded first prize by the judges is the shortest of all, just a few hundred words, yet it’s plain to see why the judges thought so highly of it. ‘Mum’s the Word’ by Valerie O’Riordan is about a girl being abused by her father; its detail is so chillingly precise (‘Three times with his grunting and the calloused hand over my mouth…’) that the story has a much greater impact than its length might suggest. A worthy winner.

Ian Madden was the second-placed author, for ‘Only the Sure of Foot’, a tale of grudges and secrets on a Scottish island. Madden evokes the harshness of his setting well, and how that has shaped his characters; I particularly like the ending, which effectively uses the landscape as a metaphor for the unspoken territory between two of its characters. Third prize went to a debut story, ‘Gardening’ by Rachel Howard, in which an old woman named Elena moves into the garden of Alice, who has become too afraid to leave her home. I like the matter-of-fact tone of this piece, the way that the rather odd situation becomes something important for both women – and the story ends in just the right place.

Though I’ve described the situation in ‘Gardening’ as rather odd, there’s a whole different level of oddness in Ben Walker’s ‘Bitter Gourd Fruit’, where a man from our present day wakes to find himself a severed head (with faculties and speech intact) on board a ship, apparently some time in the past. Walker tells his story with a straight face, and the occasional nod which acknowledges the absurdity of its premise (with the protagonist’s help, the ship’s crew end up rehearsing an adaptation of Highlander). It’s a tone that works well at keeping the story sufficiently grounded, all the way to the nicely-judged ending.

Mike Bonsall’s ‘Man Friday and the Sockball Championships’ is another story that takes a fantastical situation and works by focusing on the reality of that situation rather than on explaining it. Bonsall’s protagonist is imprisoned in one of a series of cubes in a vast cavern; he doesn’t hunger, and heals completely if injured – but he can go nowhere, and doesn’t know where he is or how he got there. Bonsall explores well the emotional state of his protagonist, and the varying stages of bewilderment, claustrophobia, resignation, and trying to cope. Natasha Tripney’s story, ‘An Experiment’, likewise features a protagonist trapped by forces beyond their control, though in a very different setting. Cecily is a (presumably poor) girl who has been taken into a wealthy household to receive the kind of education (in Latin, piano, arithmetic, and so on) that would otherwise have been denied her; here, Cecily’s benefactors assess her progress. This is a tale where the connotations of the title carry considerable weight: Cecily’s humanity has been eroded, because she is viewed in the story as an experimental subject, Tripney never allows her readers to lose sight of that, and it gives the story an effective note of unease.

Several stories in the anthology carry a sting in their tail. ‘A Sense of Humour’ by Rik Gammack – about a man who had himself cloned as insurance against dying, and hatches a plan to take advantage of the situation – is essentially a shaggy-dog story, but amply serves its purpose as a light, entertaining read. ‘Born Not Made’ by Rachel Sargeant works well enough without the twist at its end, as it transplants the rivalry between Mozart and Salieri to present-day Britain with the tale of Mozza, a young trouble-maker with an uncool interest in (and talent for) music – an interesting juxtaposition of subtext and surface tale. Darci Bysouth’s ‘Marrakech’ is a very effective piece in which a mother reminisces to her daughter about the time she lived in Marrakech. The city becomes a symbol of lost dreams; the contrast between the mother and her more practical-minded is brought out well; and the final shift of perception adds yet another layer to the story.

There are also pieces that transport us very well into the distinctive minds of their protagonists. For example, in ‘Ten Plastic Roses’ by Yana Stajno, the protagonist, Melanie, obsesses over the fake flowers she has thrown out. They were the last gift given to her by her ex-husband Richard, and now that final symbol of him is gone – except that the council’s waste collectors won’t take the roses away. Stajno controls the flow of the story well: Melanie’s attitude changes unexpectedly, and there’s a hint that her history with Richard may not be all that she claims. The narrative voice of Clare Wallace’s ‘But Then Again, Maybe It Is’ is superbly realised; Wallace’s narrator – a man out looking for the girlfriend who has left him – is consciously unreliable, revising his testimony as he goes, such that there are few secure footholds in the story. And Sherri Turner’s ‘Being Mother’ is an unsettling piece whose narrator takes her children out for an old-style tea-party (insisting they wear traditional clothes); layer on layer of perception and reality is peeled back as the story goes on, to great effect.

So, that’s a tour of some of the highlights of the third Bristol Prize anthology. There is some good stuff here, and the book is well worth seeking out.

A.J. Kirby reviews the anthology for The Short Review

Nikesh Shukla, Coconut Unlimited (2010)

Nikesh Shukla’s first novel is the story of Amit; he and his friends Anand and Nishant are the only Asian boys at their private school in early 1990s Harrow. They find themselves struggling to be accepted anywhere: their ethnicity marks them out as different at school, and their schooling marks them out as different amongst the other Asian kids in town. The boys find refuge in a shared love of rap, and decide to start their own hip-hop band, which they name Coconut Unlimited (after Amit’s sister, Nish, calls him a coconut – ‘white on the inside, brown on the outside’ [p. 28]). They just need a bit of practice first. Okay, maybe a lot of practice…

This is such a great book, so sharply observed and amusing. At one level, Coconut Unlimited captures gloriously the awkward moments of adolescence. There’s a wonderful scene where, on a family trip to London, Amit is desperate to buy some baggy jeans, and his mum takes charge, dragging him into a streetwear shop and demanding to know where the jeans are… it makes one’s toes curl in empathy. Amit’s first kiss also runs far from smoothly: he doesn’t quite know what to do with his tongue, the experience feels quite strange… These and other moments are vivid demonstrations of the choppy waters through which the teenage Amit is voyaging.

On another level, Shukla’s novel is an acute portrait of putting on a mask in the aim of being perceived in a certain way, and finding that mask uncomfortable to wear. Unable to reconcile the two cultures he’s caught between, Amit tries to define himself by a third; he’s drawn to the glamour of hip-hop, but doesn’t embrace it wholeheartedly. Amit will put on an accent and use street slang, but wants nothing to do with real crime, and is distinctly out of his depth when dealing with local ‘badboy’ Ash (‘the closest thing to ghetto in my life’ [p. 83]). He’s keen to show off his knowledge (real or pretended) of hip-hop as a way of constructing a persona, but is wrong-footed when he meets a new Asian lad at school who seems to know more about the genre than he does. Amit will criticise his sister for the way she lives her life (‘So insular. All her friends were Gujarati. All her references were Indian’ [p. 70]), and he’ll observe that his mother’s sense of having struggled in life is crucial to her notion of self-worth (‘She thought it made her more humble, when in fact it gave her a feeling of martyrdom’ [p. 72]) – but he can’t see the parallels between those and how he’s using hip-hop culture in his life.

There’s a bittersweet note to the story, in that we know from the prologue that the band doesn’t land, and Amit ends up with a comfortable, middle-class English life. But having that knowledge in the back of one’s mind makes for an effective counterpoint to the main narrative, and the journey through the book is highly enjoyable.

Throughout Coconut Unlimited, Amit repeats that he wants his band to be pretty cool. Well, the band might be pretty cool, but the novel is way cooler than that.

Nikesh Shukla’s website
Metro interview with Shukla
Some other reviews of Coconut Unlimited: Winstonsdad’s Blog; GQ.
Quartet Books

Matt Beaumont, e Squared (2009)

My fourth and final choice for the Transworld Summer Reading Challenge, e Squared is the book I’m giving a second chance. I tried reading it last year, but didn’t find it particularly amusing, and so gave up. When I saw it on the list for the Transworld Challenge, though, I thought it might be interesting to give it another go. I’m glad I did, because this time, I found the novel hilarious.

e Squared is a follow-up to Matt Beaumont’s debut novel e, and its short sequel The e Before Christmas (both published  2000). It concerns a London advertising agency (sorry, I mean “thought collective”) called Meerkat360, and is told entirely through emails, instant-message and SMS conversations, and blog posts. I haven’t read either of the two earlier books, but, although I inevitably missed some of the context, it didn’t matter too much – enough time has passed in fictional terms for e Squared to pretty much stand alone.

Since so much of the fun of reading Beaumont’s novel lies in discovering the absurdities of its characters and situations, I won’t reveal too much here. But the cast of e Squared includes: David Crutton, the CEO of Meerkat360, whose relationship with his wife Janice becomes so strained at times that they resort to communicating with each other via their PAs; Liam O’Keefe, whose debts are so large that he’ll filch anything he can from the office and sell it on eBay; the hopelessly naive Harvey Harvey, who doesn’t understand the concept of spam email, and is deeply concerned about all the lonely girls who keep emailing him; and Caroline Zitter, who’s forever out of the office at some outlandish seminar or other. I’m holding back a little in my descriptions, there; the absurdities of these (and other) characters are turned right up to the maximum.

The events of e Squared are also gloriously daft. The Creative Department of Meerkat360 employs various staff to enhance their creativity, including a hairdresser and clown (much to the consternation of David Crutton). Some of the agency’s commissions are rather dubious (e.g. cigarettes with added vitamins and minerals – “your 5 a day”). A former creative director of Miller Shanks (the forerunner to Meerkat360) has retired to France, from where he chronicles his life in blog posts that nobody reads. Transworld Publishers make a cameo appearance, and are shown   to have some of the same emailing habits as Meerkat360 (though surely it’s not like that in real life…).

What really adds an extra dimension to e Squared for me is the way that Beaumont uses the epistolary form for effect. For example, the first chapter intercuts Janice Crutton’s annual Christmas email to her family and friends – which paints life in the Crutton household as a model of familial happiness and harmony – with other emails and exchanges which suggest a rather different reality. And there are times when the distancing effect of having events reported to us in emails, rather than “witnessing” them directly, gives the humour a deadpan quality.

But, you know, e Squared is a whole lot funnier to read than it is to describe like this. So I shall stop there and just suggest that you go and read it.

Some other reviews of e Squared: Rather Lovely; For Books’ Sake; Bookmunch; Den of Geek.
Matt Beaumont’s website
Meerkat360 website
Den of Geek interview with Beaumont

Jess Walter, The Financial Lives of the Poets (2009)

It seemed like a good idea at the time to Matt Prior: to leave his job as a financial journalist and set up a website focused on providing financial writing of a higher literary quality  than usual – financial advice in the form of poetry, anyone? The site proved unpopular, and Matt is now just a few days away from losing the home he shares with his wife Lisa, sons Frankiin and Teddy, and his ailing father Jerry – not that he’s told any of them. What’s more, Matt thinks Lisa has reconnected with her ex-boyfriend online. It’s a pretty dire situation, then; but a chance encounter with some youths at a 7/11 leads Matt to think of a way out of his problems – dealing in dope. Well, it seemed like a good idea at the time…

The Financial Lives of the Poets is, above all, a very funny book. Much of the humour comes from Matt’s narrative voice, which is dense with observation. For example:

The advice you get when your mortgage is in danger is to “contact the lender.” The last time I contacted my lender, some twenty-five-year-old kid answered the phone and talked me into forbearance, this six-month amnesty of procrastination. I should have known it was a bad move when I contacted my lender the next time and found out the kid had been laid off, that our mortgage had been bundled and sold with a stack of similarly red paper to a second company, and that the second company had been absorbed by a third company. Now I have no idea how to “contact my lender.” I seem to spend hours in automated phone dungeons (“For English, press one”) desperately looking for a single human voice to gently tell me I’m dead. (29)

Walter achieves a nice balancing act with Matt’s voice and character, I think: there are wisecracks, but there’s also enough desperation in Matt’s narration to keep him grounded firmly in the messy business of the story, rather than floating freely above it where a quip and a raised eyebrow could save the day.

Matt is (appropriately, I’d say) simultaneously sympathetic and unlikeable. There’s something almost endearing about the way that his attempts to dig himself out of a hole end up pushing him further into one; but we can see that he has the best intentions at heart – except that, sometimes, he doesn’t. He’s under pressure from about five or six different angles and, though his responses aren’t always commendable, they ring true emotionally. There’s also an undercurrent of poignancy when Matt confronts issues like his father’s dementia, which acts as a counterpoint to the humour.

The Financial Lives of the Poets feels very much like a novel that belongs to today: it’s a story that grows out of the current economic climate, and examines the lengths to which someone might go to deal with a bad situation – and there are plenty of laughs along the way. Warmly recommended.

Some other reviews of The Financial Lives of the Poets: Just William’s LuckBookmunch; Raging Bibliomania.
Jess Walter talks about the book
Jess Walter’s website

Jonathan L. Howard, Johannes Cabal the Necromancer (2009): The Zone review

The Zone website is now carrying my review of Jonathan L. Howard’s debut novel, Johannes Cabal the Necromancer. It’s a comedy in which Johannes Cabal seeks to get his soul back from the Devil, who demands a hundred other souls in return. Cabal has a carnival at his disposal to assist with this, but, of course, it’s not that straightforward.

I found Johannes Cabal the Necromancer to be moderately successful, and gave it 3 stars. You can read the full review (which includes some more general thoughts on comic fantasy) by clicking on the link below.

My review at The Zone
Some other reviews of Johannes Cabal the Necromancer: Amanda at Floor to Ceiling Books; Matt McAllister for Total Sci-Fi.
Jonathan L. Howard’s website

Links: 25th November

Okay, this is my first attempt at doing a links post. Hopefully, over time, these will become more frequent, and the links more numerous; but, for now, you may find these pages of interest:

  • Adam Roberts reviews Transition by Iain Banks, and doesn’t think much of it.
  • Niall Harrison reviews three books, and reminds me that I really need to get around to reading The Ask and the Answer.
  • Lija from The Writer’s Pet interviews David Vann.
  • A few months old, but well worth reading: John Grant champions the good stuff.
  • Gav from NextRead asks what reviews are good for.
  • And, finally,  just because: ‘Bohemian Rhapsody’ as you’ve never heard it before.

Cheltenham Literature Festival Diary: Part 3

Part 1 of this diary is available here, with part 2 here.

Friday 16th

10.00 am: Today is deliberately light on events for me; but now it gets even lighter, as the mathematician Marcus du Sautoy is unfortunately now unable to attend. I was looking forward to his talk, but now I’ll have to find something else to go to instead.

6.00 pm: Last night, I pretty much abandoned the private game of ‘Guest Director bingo’ I’d been playing. And now I walk past Anthony Horowitz, today’s Guest Director; I could have had a full scorecard!

7.00 pm: Here’s the ‘something else’ I chose to attend – ‘Castaway’s Choice’, in which a panel are asked which book they’d take to a desert island (the name of a certain radio programme is apparently not allowed to be mentioned). Apparently Geoffrey Howe chose The Good Hotel Guide in a previous year, but we get three fiction choices here. Booker nominee Adam Foulds chooses Too Loud a Solitude by Bohumil Hrabal (a book I’d never heard of before, but it sounds interesting. Writer and Times Literary Editor Erica Wagner chooses Maurice Sendak’s Where the Wild Things Are. And PR agent Mark Borkowski’s choice is J.D. Salinger’s The Catcher in the Rye. I’ve never read any of those (I know, I  know…), but it’s an entertaining and interesting session all the same. (Particularly amusing is the moment when Borkowski tries to find the last page of The Catcher in the Rye on his e-book reader, so he can read a passage, only to give up in frustration and pull out his good old paper copy – there’s life in the printed word yet!).

8.45 pm: Rich Hall is interviewed, and reads from his new story collection. I was sitting at the wrong side of the theatre to get a really good view, but it didn’t matter. Hall was excellent, by turns both funny and insightful; and his book sounds like a good read, too.

Saturday 17th

3.00 pm: A late start, as another of my planned events has been cancelled, and my first choice of replacement was full. I go along first to the Highland Park marquee, where a number of Canongate authors are reading from their work – and free shots of whisky are being offered. The author at this session is a new novelist called Trevor Byrne, who reads from Ghosts and Lightning; I’m so impressed that I go to the book tent and buy a copy. [I’m reading it now, and if it finishes as well as it starts, you can expect a very positive write-up on this very blog before too long.]

5.00 pm: What can I say about the great Steve Redgrave? Perhaps simply that he’s an engaging interviewee with a fascinating story. But I have to leave before the end to make it to my next event…

6.10 pm: More comedy, as today’s Guest Director, Mark Watson, interviews Armando Iannucci. But it’s like no other interview I’ve seen at the Festival, as they open to questions from the audience at 6.15, and get through about three questions in the next 45 minutes, each answer leading into wonderful digressions. I saw Watson in stand-up this January; he was hilarious then, and he’s hilarious now. I’ve never really followed Iannucci’s work, and am not really into political satire, but he wins me over at this session. Definitely one of the two funniest and best comedy events I attended at the whole Festival [the other is my final event tomorrow].

8.45 pm: Now, for a change, an author known for writing literature – and, moreover, the only event where I’ve already read the book under discussion. Iain Banks is as animated and engaging as ever; but I do start to wonder if Transition is really the kind of novel that lends itself to an interview of this nature, as some of the discussion feels a bit dry. And one questioner from the audience casually gives away the ending of The Wasp Factory, which I do not appreciate.

Sunday 18th

10.00 am: The Guest Director for this final day of the Festival is Jonathan Coe, at whose first event my day begins. The brochure says, ‘[Coe] introduces a varied programme of his own writing, including [a short story] reworked as a performance piece for voice and piano’. Sounds interesting to me. But, when Coe takes the stage, he announces that there’s a change to the programme. What we get is one single reading (by a female actor) of extracts from one of Coe’s novels, with a live piano accompaniment. This is okay, but I can’t help feeling disappointed, as the original idea sounded better; and I’m not sure how much the ‘soundtrack’ really added. Still, it was enough to make me interested in reading one of Coe’s books.

11.30 am: Back to the Canongate tent for a reading by Mari Strachan, another début author. Again, I’m really intrigued by this, and end up buying a copy of The Earth Hums in B Flat [though I’ve yet to start reading it].

2.00 pm: Another of Jonathan Coe’s events, this time a discussion on the place for ‘serious’/’literary’ fiction at the present time. I’m interested to see who will attend this session – the audience is (sadly) quite small; most of them are older than me, though (happily) I’m not the youngest; and I can’t help but wonder how many of the audience are just here as readers, and have no connection with publishing or writing. Anyway, the panel consists of Pete Ayrton (from the publisher Serpent’s Tail), Suzi Feay (former Literary Editor of the Independent on Sunday); and James Heneage (founder of Ottakar’s). Coe suggests at the end that the debate has been largely ‘optimistic’, though I’m not sure I’d agree with him. I’m particularly struck by how much the survival of ‘serious’ fiction seems to be dependent on other factors; it’s not whether there will be a demand for that kind of fiction (there will but, as ever, it will be a minority interest), but whether the industry will be able to support it, given that the money for it will probably have to come from elsewhere.

4.00 pm: A talk by former ambassador Christopher Meyer on his history of British diplomacy. I booked this event at the last minute, on a whim, but I’m very glad I did. Meyer is a wonderful speaker, his passion and enthusiasm for his subject really shining through.

6.00 pm: My original choice of event for this slot (Steve Punt and Hugh Dennis) was fully booked, but this one is just fine instead. The joint interview with novelists Patrick Gale and Marina Lewycka is a joy, the best fiction event of the Festival for me. I’ve never read Gale at all, and only one book of Lewycka’s (A Short History of Tractors in Ukranian, which I quite enjoyed), so I’m not quite sure what to expect. But both are highly engaging (though Lewycka sounds exactly like an old French tutor of mine, which takes a little getting used to), especially when they spark off each other. Some participants in events at the Festival have been too ‘chummy’ for the good of the discussion, but here it’s an asset (I’ve no idea whether Lewycka and Gale are friends in real life, but they have that kind of natural rapport here). And my TBR pile grows larger still…

8.00 pm: Last event of the Festival – the great Barry Cryer, someone who’s been around all my life, yet I’ve never really appreciated the sheer range of his work. He’s brilliant here, with anecdotes from a lifetime in comedy, and some very funny jokes. At the very end of the session, the interviewer realises they haven’t even mentioned Cryer’s new book – but what does it matter after such a wonderful hour?


And that was my Festival. All in all, a highly enjoyable ten days. I’m glad I went, and would certainly go back. Then again, there are all those other literary festivals out there, just waiting to be explored. As ever, so many possibilities, and not enough time to choose them all…

Cheltenham Literature Festival Diary: Part 1

For the past week-and-a-bit, I’ve been at the Cheltenham Literature Festival, my first time going to such an event. I wasn’t quite sure what to expect, and the rather tight separation between writers and audience (no real opportunities for interaction apart from Q&As at the end of each session, and signings afterwards) was a little disconcerting at first (I guess that’s the only practical way to run things with so many events and speakers). The Festival was quite celebrity-led (then again, isn’t contemporary publishing the same?); but, generally speaking, they were interesting celebrities, and there was plenty of other stuff going on. All in all, I had a good time, and went to a nicely varied programme of events.

I never had internet access while I was away, otherwise I’d have blogged about the Festival in more detail while I was there. Instead, I present the edited highlights, which are pretty long as it is…

Friday 9th

6.00 pm: My first event, listed in the festival brochure as ‘The Man Booker Winner’, who of course in the end was Hilary Mantel.

I haven’t traditionally had much luck with Booker titles (of all the nominees, and one winner, that I’ve read, I can only truly say that I liked Animal’s People by Indra Sinha), but I certainly became interested in reading Wolf Hall after hearing Mantel read from it, and speak so enthusiastically.

7.30 pm: Leaving the Town Hall, I realise that I’ve just passed a fellow Huddersfielder, the poet Simon Armitage. He is today’s Guest Director (there’s one for each day of the Festival, who has programmed three events for that particular day).

Saturday 10th

11.30 am: I have the morning free, so I’ve been to look around town. As I’m going into the Town Hall, I think back to seeing Simon Armitage last night, and wonder if I could play a little game of ‘Guest Director bingo’, just to see how many of them I could spot over the ten days. At the precise moment I think this (and I swear I’m not making this up), I reliase that today’s Guest Director, Richard Eyre, has just walked past me. That makes up my mind: the challenge is on!

1.30 pm: Off to the Centaur pavilion (what a great pun) at the racecourse to see Michael Palin. He talks about his career in the 1980s, the period covered by the new volume of his diaries. Much as I like Palin’s work (he’s one of the few writers I’ll be seeing who I’ve actually read), I’m more familiar with his travel programmes than this part of his career, so it’s interesting to hear his behind-the-scenes tales of (mostly) the films he made at that time.

4.00 pm: Marcus Chown, the New Scientist‘s cosmology consultant, talks about his latest book, which (says the brochure) ‘looks at what the everyday world tells us about the universe’. The discussion about science is interesting, but I don’t gain much sense of what the book is actually like.

6.30 pm: Readings and discussion from the novelists Diana Evans and Patrick Neate. The latter, I would say, is the better reader; but both books sound interesting, and so my ‘would like to read’ list grows a little longer.

8.45 pm: Quite interesting stuff from John Lloyd and John Mitchinson, the creators of QI. They can’t talk about their new book, because it’s not finished yet; nevertheless, their enthusiasm is infectious.

Sunday 11th

10.00 am: Am I cheating in my game of Guest Director bingo if the only time I see them is when I know I’m going to? Well, it’s my game, with my rules, so I decide that the answer is no. So, here is today’s Guest Director, Sandi Toksvig, interviewing the novelist Kate Mosse. Actually, it’s less of an interview than a chat between friends — and less informative (to me, as someone who has never read Mosse but thought about it) as a result.

12.00 pm: The first of several occasons when I miss out on an event to which I wanted to go. There were no tickets left for Harry Hill; disappointing, but never mind.

4.00 pm: Back to the vast (and full) auditorium of the Centaur, where Mark Lawson is interviewing Mitchell and Webb. I’ve never really watched them, but find them quite funny here; and the talk of how they work as a double act is interesting.

7.30: Time for something different — two hours of dynamic storytelling by the excellent Ben Haggarty. He weaves a wonderful tale that begins with his visting a freak show at a carnival in America, and ends on the moon, where he discovers the truth about his profession. I don’t know how often Haggarty tours, but if he comes anywhere near you, go and see him.

Monday 12th

10.00: A talk by David Elder about an anthology he has put together of writing about Cheltenham. This was one of the events I was less sure about, didn’t know quite what to expect, and ultimately I found it a bit dry. To be fair, I would probably have got more out of it if I were a Cheltonian.

Lunchtime: I’ve been wandering around, trying to find somwhere nice to have lunch, and end up going from one side of town to the other. It’s good for my game of Guest Director bingo, because at one point I pass a group of people which includes today’s Guest Director, Chimamanda Ngozi Adichie.

4.00 pm: A conversation between P.D. James and Ruth Rendell. As with the Toksvig/Mosse event yesterday, these two are good friends; and, though the talk is interesting enough, I once again feel that the writers’ fans will have got more out of it than I did.

8.45 pm: I did want to see Hugh Fearnley-Whittingstall now, but the event had sold out. Instead, I’m at the interview of another Channel 4 presenter, Kevin McCloud, who is talking about European architecture and the idea of the ‘Grand Tour’. He’s a marvellously entertaining speaker, even breaking into spontaneous impersonations of Brian Sewell and Prince Charles. I’m not particularly into architecture, but McCloud makes the subject interesting; and he’s not the only person who will do so this week — but that can wait for another instalment…

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