Author Reviews: how do you feel?

I come across this article by one of my favourite authors, Kate Atkinson, which she wrote in response to a review of her latest novel by the American novelist Jonathan Dee in the New Yorker.

You can read the full article for yourself by following the the link below, but as I was reading, I was initially incensed on her behalf by Dee describing her as ‘matronly’. I mean, how dare he? (Note that Ms Atkinson is a contemporary of mine, even down to having grown up in the same city, not that we knew each other).

In his review, Dee makes much of a comparison with the work of Rachel Cusk, who is an exponent of “autofiction” (a form of fictionalised autobiography). There’s a further link in the main article to a piece about this form of expression, which is apparently gaining in popularity. It’s not something I’d care to explore; writing from the imagination seems to me to be the whole point of novel writing.

But back to the point about authors reviewing authors. Reviews are important, and I’m very grateful for the lovely reviews I’ve received on my published work so far. I believe that we should try to support each other and if we really don’t like a book, maybe just keep our opinions private.

Some food for thought here. What’s your view?


Courtesy of Guardian News & Media Ltd

Kate Atkinson calls authors reviewing their peers a ‘callous art’

British novelist who recently published latest book “Transcription” says she tries not to read bad reviews

Kate Atkinson
Kate Atkinson, Author (and not at all matronly)

The literary world is packed with novelists reviewing the books of their colleagues but it is not something Kate Atkinson would do, calling it a “callous art”.

 

 

Philip Pullman: ‘My Writing Day’

I came across this article written by the wonderful author, Philip Pullman. I found it very entertaining. It’s mostly about his writing space. Interesting. What’s yours like?

Courtesy of Guardian News & Media Ltd

Philip Pullman interview lunaslonline

Philip Pullman: ‘I use coloured pencils to show which key I’m writing in – D minor, at the moment’

The author on the importance of desk height, watching birds and Myriorama cards

I get to my desk (in a very small room at the top of the house) at about 10, and fiddle about with the height of the desk and the chair until I’m comfortable. I have a desk that I can raise or lower according to the state of my aching back. Sometimes I stand at it, and sometimes I have it high up to write at, and sometimes a bit lower to type.

The desk is covered by an ancient kilim, because it looks nice, but that’s not a good surface to write on, so I have one of those green safety cutting mats to support the paper I use, which is A4 narrow lined, with two holes. I love the shape of the A paper sizes. It’s the only one of Andrea Palladios recommended architectural shapes (the ratios of room length to width, and so on) that contains an irrational number, in this case the ratio of one to the square root of two. Very handy for illustrating Pythagoras’s famous theorem, in fact.

Nearby is a basket full of coloured pencils, including some of the best of all, the Berol Karisma range, now unfortunately discontinued. For each book I write, the paper is authorised for writing on by means of a coloured stripe along the top edge. I fan the sheets out and colour a stack at a time. The current book is a warm blend of Karisma Pumpkin Orange and Faber Castell Venetian Red. I sometimes think I should make it clear which key I’m writing a particular passage in – D minor, at the moment – but that would be silly, unlike colouring the pages, which makes perfect sense.

To read on, click here