I’ve been a big fan of Bradford Literature Festival for a number of years. It’s a bright spot in Bradford’s cultural calendar and I’ve written in the past about why I love it. In previous years I’ve usually attended a fair few sessions during the annual festival. I’ve loved the variety of subjects on offer, the chance to hear interesting (and well-known) speakers in some marvellous venues, and the opportunity to listen, learn and reflect – and often to be challenged. This year – as a result of the general uncertainty and a lack of organisation on my part – I attended only two events. But what this year’s festival lacked (from my point of view) in quantity, it certainly made up for in quality. Anita Rani
As a trailblazer – a South Asian woman in a predominately white male industry – Anita talked about the difficulty of negotiating various ‘spaces’ and having to curb aspects of her personality to meet certain expectations. She has clearly thought long and hard about the privileged position in which she now finds herself, about how she could – or should – use that position to carve a path for others, and about her regrets for not speaking out on particular occasions. Many of Anita’s reflections also touched on the personal sphere. She talked about food, family and weddings. She talked about how South Asian girls were mostly not encouraged to speak up, except on the topic of beauty. And she wondered how much the lives of women (particularly those from South Asian backgrounds) have changed since she was growing up. This was an entertaining and thought-provoking discussion. Anita’s book is now on my reading list. Rev. Richard Coles and Arifa Akba The setting for Sunday evening’s event was the magnificent ballroom at Bradford’s Midland Hotel. The topic – grief – was a more sombre one than Saturday’s, although there was plenty of light on hand, not least from the amazing chandelier that graces the venue. Rev. Richard Coles and Arifa Akba were interviewed by Peg Alexander. These were two quite different stories, with some common threads. Richard Coles’ husband, David, died in December 2019 as a result of addiction to alcohol. Arifa Akbar’s sister, Fauzia, died in 2016 from undiagnosed tuberculosis. Both deaths were a shock, yet in some ways not really a shock, perhaps complicating the grief that these two authors have felt since. There were other common observations – and ones that anyone who has ever been bereaved will recognise. For instance, when someone dies there is a huge amount of ‘admin’ to deal with, sometimes lasting many weeks (or even months). This can, in one sense, be welcomed as something practical to focus on, but it can also be exhausting. Another aspect of grief is the baffling realisation that everyone else is carrying on as normal with their everyday lives, while you’re still dealing with the enormity of your bereavement. Richard and Arifa each reflected on what had helped them to deal with the grief they felt. As a widow, Richard didn’t appreciate being told by others how he should be feeling and behaving, but did value conversations with other widows who told him how they themselves had felt/behaved, without giving advice. Meanwhile, Arifa noted that the loss of a sibling isn’t as widely recognised as the loss of a spouse is, something that left her feeling rather adrift. Coincidentally, two of her close friends had also lost siblings, so Arifa was able to discuss her feelings with them. The two authors also discussed addiction and attitudes to it. David’s alcoholism wasn’t public knowledge, so many were shocked by his death. Richard described the strain of living with and caring for an addict: he often went without sleep so that he could make sure David was safe. Arifa described the complex issues associated with her sister’s eating disorder – a type of addiction – including the shocking negative comments made by a member of medical staff. Arifa and Richard touched on the way in which grief had affected their relationship with art and music, respectively. Fauzia was an artist who had created striking paintings and embroidered art. She had been deeply affected and inspired by the Sistine Chapel, leading Arifa to visit the Vatican after her sister’s death to share that experience and feel a connection with Fauzia. Richard and David had played music together, so Richard had avoided revisiting their shared music after David’s death because it was just too painful. Instead, he had decided to learn to play a new instrument: the accordion. There were some interesting questions from the audience. Had Arifa considered taking legal action for her sister’s undiagnosed fatal illness? She’d certainly discussed the possibility with a lawyer she knew, but decided not to pursue it in the end because of the time, effort, stress – and money – involved. Did the two authors feel that David and Fauzia had experienced a ‘good death’? Perhaps surprisingly, given the circumstances, both Richard and Arifa said they did. As it happened, this was the final question, and it was a positive note on which to end the discussion. And so ended my Bradford Literature Festival 2021. It was brief, it was bright, it was brilliant. I can’t wait for next year…
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I’ve previously written about why I love this festival – and my feelings certainly haven’t changed! This year the programme is as strong as ever, and it continues to tick all the boxes as far as my admiration is concerned. So I thought I’d present an updated version of my previous article, featuring highlights from this year’s fantastic festival offerings. Bradford has had its fair share of bad publicity over the years, and it might not be the first place that springs to mind if you’re thinking of cultural events. But a few years ago, Bradford Literature Festival (BLF) burst onto the scene – and I love it! This year’s festival is fast approaching. Here’s why I’m looking forward to it. 1. Big namesFor such a young festival, BLF attracts some notable speakers. This year there’s George the Poet, AC Grayling, Michael Rosen, John Barnes, Luke Goss and Jeanette Winterson (to name but a few). In previous years I’ve been to events featuring Jeanette Winterson (she must like it here!), Akala, Carol Ann Duffy and Jackie Kay. And a couple of years ago I happened to fall into conversation with none other than Germaine Greer as she consumed a refreshing shandy before a panel event. The hot topic she chose? The traffic diversions and snarl-ups she’d encountered on her way home from an event the previous night. Not quite what I was expecting. 2. Professional interestAs an editor, I’ve loved being able to hear experts like linguist David Crystal and The Times columnist Oliver Kamm talking about language and usage. I’ve attended panel discussions on English as a global language, the author–editor relationship and how not to write bad sex. And at this year’s BLF there are sessions on cultural appropriation in writing, how to get published, crime writing and thrillers, how to make writing pay, and the power of podcasts. Professional development has rarely been this enjoyable. 3. VarietyI’m always impressed by the wide range of events at BLF. There’s classic literature and contemporary crime fiction, there’s poetry and rap, there’s magic and fairy tales, there’s feminism and religion, there’s music, comedy, film, politics, heritage tours, walks... And this year, there’s even an event devoted to tea! It’s a great opportunity to immerse yourself in something you love, or dip your toe into something new. Expect to laugh, cry, think, enjoy and relax, and to come away inspired, informed and challenged. What more could you ask for? 4. The local angleBradford has a rich literary and cultural heritage, and that plays a part in BLF. Inevitably, perhaps, the Brontës are often featured – and this year is no exception – but there’s always a real desire to explore their work in new and interesting ways. Other local talents also come under the spotlight. Once again, the work of Bradford playwright Andrea Dunbar (Rita, Sue and Bob Too) is considered, while Poet Laureate Simon Armitage – who hails from nearby Marsden – will discuss his new translation of Sir Gawain and the Green Knight. There’ll be discussions on topics that resonate in the city, including The Satanic Verses, Islamophobia and Bradford City AFC, and tours of Undercliffe Cemetery, the Jewish Quarter, Bradford Police Museum and Little Germany. It’s a great way to learn about the area’s history and find out more about some of the hot topics of the day. 5. InclusivitySay ‘literature festival’ and many people think it isn’t for them. But I’m sure at least some would reconsider if they took a look at the programme and tried out an event or two. There’s a great variety of stuff that’s designed to appeal to all age groups and to reflect Bradford’s diverse communities. Most events take place in or around the city centre, and some are free. And as well as the usual discounts for students, senior citizens and disabled people, there are special tickets for refugees, asylum seekers and benefit recipients (the cost of a ticket is refunded on attendance, which means free entry!). 6. Educational focusBradford has a chequered history when it comes to education, and many of its schools still struggle with literacy and educational attainment. I think BLF can only be a good thing in this respect. The programme’s chock-full of stuff for children and young people. There are plenty of free activities, including two Baby Raves, for which I’m considering borrowing a baby. And the festival has a great schools programme, which includes author events, performances, writing workshops, and author visits to schools. Oh, to be young again… 7. Celebrating what’s best about BradfordI think the fact that Bradford can put on a festival of such quality is a demonstration of what’s best about this vibrant city and its culture. During previous festivals I’ve spent time in the Festival Hub in City Park, and it’s a great place to hang out, grab a coffee and enjoy the buzz. I’ve been interested to see the inside of some of the city’s great buildings, such as City Hall and the Midland Hotel, and I can confirm that there’s more to Bradford than dark satanic mills and sink estates. And even if only a fraction of the city’s population comes to BLF events, many more – especially children and young people – will surely benefit from its effects. So, there it is. Once again, I can’t wait for BLF and for the chance to learn something new, be challenged and entertained, and perhaps even find out about visiting celebrities’ travel headaches. Bring it on!
On a windy October night that was strangely warm for the time of year, the skies dark with the threat of rain, I made my way over the bleak Yorkshire hills to the magnificent, majestic Piece Hall in Halifax. (OK, I’ll stop that now. I’m an academic editor, not a fiction author.) I was going to an event entitled ‘How to Get Published Without an Agent or Travelling Down to London’, the venue was The Book Corner bookshop, and my companion was novelist and fiction editor Helena Fairfax. As an author, Helena had more of a vested interest in the topic than I had. But I’m always keen to support local publishing-related activities, and I welcome any excuse to visit the Piece Hall. The speakers at this event – part of Halifax Festival of Words – were Kevin and Hetha Duffy from Bluemoose Books in Hebden Bridge. They’re fierce supporters of the northern publishing scene and have invested a great deal, personally and professionally, in promoting literary fiction that mainstream UK publishers might not be willing to publish. Kevin and Hetha gave an entertaining round-up of the various options for getting published. The traditional route is through a literary agent, who then liaises with publishers in the hope of securing a deal for the author. We heard about some of the drawbacks of this system, the main one being the reluctance of larger publishers, who are focused on the profits they have to make for their shareholders, to take risks with work by new authors, particularly if that work is outside established genres or current literary trends. Submitting to a small independent publisher – Bluemoose, for example – is another option. Kevin and Hetha gave us a fascinating insight into their publishing process. They receive around five hundred submissions (of three chapters and a synopsis) every year, request full manuscripts for around five of these each month, and then eventually publish around three or four titles a year. They have to really fall in love with a manuscript if they’re to publish it (although they admitted that the two of them don’t always fall in love with the same things!). Kevin and Hetha described some of their publishing successes, including Benjamin Myers’ novel The Gallows Pole, for which Benjamin has won several literary prizes and a not inconsiderable amount of money. Benjamin’s publishing journey has not been an entirely smooth one, his second novel having been turned down by the large company that had published his first novel. Following the outstanding success of The Gallows Pole – his third novel – the rights to Ben’s backlist have now been bought by Bloomsbury. Kevin and Hetha clearly regard this as a vindication of their decision to support Benjamin’s work and of their approach to taking what other companies might see as a risk. What stood out for me was the emphasis placed on the editorial process. Hetha gave her two key tips for authors.
The company has a small team of editors, including Hetha’s mother, who go through a manuscript until they are absolutely satisfied that it is the best it can be. Editing is not an easy process, and some authors are uncomfortable with it, but Kevin and Hetha are so passionate about the books they publish that they are unwilling to compromise on this. And they’ve come to realise the importance of making it clear to authors from the outset that this is what will happen to their manuscript. Ultimately, if the Bluemoose team are not fully satisfied with the final version of a novel, they could take the decision not to publish. However, they were keen to stress that they would rather work with an author than battle it out over the quality (or otherwise) of individual sentences. There was a great deal more information here, including a description of other routes to publishing: self-publishing (which has massively increased in popularity in recent years), vanity publishing and print on demand. From its very humble beginnings in 2006, Bluemoose Books has become a force to be reckoned with – albeit still a small one – in the UK publishing industry. I get the impression they are less and less concerned with trying to compete with the (mainstream) London publishing scene: they clearly have their own fiercely independent vision of what they want to achieve. In fact, in recent times, mainstream agents and publishers have been approaching Bluemoose, rather than the other way around. This was a really lively and engaging talk, and a great thing to have as part of the Halifax Festival of Words. I’m sure those in the audience who are keen to have their work published will have found it very useful and picked up some valuable tips. I’m not an author, but I enjoyed Kevin and Hetha’s energy and enthusiasm, their drive to support publishing outside London, and – perhaps most of all – their endorsement of editing as the most important part of their publishing process. Bradford has had its fair share of bad publicity over the years, and it might not be the first place that immediately springs to mind if you’re thinking of cultural events. But a few years ago, Bradford Literature Festival (BLF) burst onto the scene – and I love it! This year’s festival is fast approaching. Here’s why I’m looking forward to it. 1. Big names
For such a young festival, BLF attracts some notable speakers. This year there’s Akala, David Starkey, Suzy Quatro and Jeanette Winterson (to name but four). In previous years I’ve been to events featuring Will Self and Lemn Sissay. And at last year’s festival, I happened to fall into conversation with none other than Germaine Greer as she took refreshment in the bar before a panel event. The hot topic she chose? The traffic diversions and snarl-ups she’d encountered on her way home from an event the previous night. Not quite what I was expecting. 2. Professional interest As an editor, I’ve loved being able to hear experts like linguist David Crystal and The Times columnist Oliver Kamm talking about language and usage. I’ve attended panel discussions on English as a global language, getting published and how not to write bad sex. And at this year’s BLF I’m looking forward to hearing about the author–editor relationship, a subject close to my heart. I’ll also be finding out what’s in store for the publishing industry from some of those who are in the know: the editor of The Bookseller magazine and the cofounder of crowdfunding publisher Unbound. 3. Variety I’m always impressed by the wide range of events at BLF. There’s classic literature and contemporary crime fiction, there’s poetry and rap, there’s manga and magic, there’s Brexit and religion, there’s music, comedy, film, heritage tours, walks... It’s a great opportunity to immerse yourself in something you love, or dip your toe into something new. Expect to laugh, cry, think, enjoy and relax, and come away inspired, informed and challenged. What more could you ask for? 4. The local angle Bradford has a rich literary heritage, and that plays a part in BLF. Inevitably, perhaps, the Brontës are often featured – and this year is no exception – but there’s always a real desire to explore their work in new and interesting ways. Other local talents also come under the spotlight. Last year I enjoyed a fascinating discussion on the work of Bradford playwright Andrea Dunbar (of Rita, Sue and Bob Too fame), herself the subject of a novel by another Yorkshire writer, Adelle Stripe. The 2018 programme includes events on J.B. Priestley, Sylvia Plath and David Hockney, all of whom have local connections. And local publishers are often represented, both in panel discussions and through the authors they publish. It’s a great way to learn about the area’s history and discover new local talent. 5. Inclusivity Say ‘literature festival’ and many people would think it wasn’t for them. But I’m sure at least some would reconsider if they took a look at the programme and maybe tried out an event or two. There’s a great variety of stuff that’s designed to appeal to all age groups and to reflect Bradford’s diverse communities. Most events take place in or around the city centre, and some are free. And I’ve recently discovered that as well as the usual discounts for students, senior citizens and disabled people, there are special tickets for refugees, asylum seekers and benefit recipients (the cost of a ticket refunded on attendance = free entry!). 6. Educational focus Bradford has a chequered history when it comes to education, and many of its schools still struggle with literacy and educational attainment. I think BLF can only be a good thing in this respect. Apart from a programme that’s chock-full of stuff for children and young people – with plenty of free activities, including a Baby Rave, for which I’m considering borrowing a baby – BLF has a great schools programme, which includes author events, performances, writing workshops, and author visits to schools. I was really interested to hear about the school exchange with the long-established Hay Festival, and I’m so glad the students who took part enjoyed their visit. 7. Celebrating what’s best about Bradford I think the fact that Bradford can put on a festival of such quality is a demonstration of what’s best about this vibrant city and its culture. During previous festivals I’ve spent time in the Festival Hub in City Park, and it’s a great place to hang out, grab a coffee and enjoy the buzz. I’ve been interested to see the inside of some of the city’s great buildings, such as City Hall and the Midland Hotel, and I can confirm that there’s more to Bradford than riots, sink estates and dark satanic mills. And even if only a fraction of the city’s population comes to BLF events, many more – especially children and young people – will surely benefit from its effects. So, there it is. I can’t wait for BLF and for the chance to learn something new, be challenged and entertained, and perhaps even find out about visiting celebrities’ travel headaches. Bring it on! I love my work. Every day I spend my time editing non-fiction and academic texts on subjects such as business, education, management and economics. But in my spare time, there’s nothing I like more than getting engrossed in a really good novel.
I live in an area with a very strong literary heritage: the Brontë sisters lived in nearby Haworth. A recent event at the Old School Rooms in Haworth gave me a chance to hear how two contemporary novelists, Tracy Chevalier and Maggie O’Farrell, feel a connection with Charlotte Brontë’s most famous work, Jane Eyre. As well as discussing aspects of the novel, including the strong central character and the use of first-person narration, Tracy and Maggie reflected on the nuts and bolts of writing, both in relation to Charlotte Brontë and from their own experiences. For me, one of the most interesting parts of the discussion focused on how the Brontës developed their novels. The sisters would sit together at a table to write, and would take it in turns to walk around the table reading parts of their work aloud. Maggie O’Farrell wondered about the editorial interaction between the sisters. How far did they collaborate during this process? To what extent did they ‘borrow’ from each other’s personal experiences for their own individual writing? Part of Charlotte’s working method involved writing out short sections of text on individual pieces of paper and revising them before copying them onto the manuscript. Tracy Chevalier wondered just how many changes were made before the final version was produced. If only Track Changes had been available in 19th-century Haworth! As I sit in my office editing a journal article on knowledge organisations or a lengthy report on education policy in Central Asia, I can draw inspiration from Charlotte’s writing process and her desire to hone each and every sentence to perfection. When it comes to writing and editing, some things never change. |
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