Monday, May 02, 2016

I'm absolutely delighted that my poetry pamphlet has been shortlisted for the fantastic Saboteur Awards, an annual celebration of all things indie - from books and publishers, literary magazines and live events to authors and performers - in the UK! It operates by public vote and the voting is now open until May 24th so please do pop over there and show some support to your favourite performers, lit mags, publishers etc... The link is here. My second collection, My Mother Was An Upright Piano, won 2nd prize in the short story collection category in 2013, which meant an enormous amount to me.

And on the subject of pamphlets/chapbooks, I've just been interviewed about mine over at Speaking of Marvels, a wonderful website which describes itself as "interviews about chapbooks, novellas, and other shorter forms". I am so happy that Will title the interview "Give yourself permission to write what you want to read" because permission is such an important word for me - in writing and in life, if the two can be separated - and something I try and pass on when I can. I had to answer some quite marvellous questions, here's one:
Without stopping to think, who are ten poets whose work you would tattoo on your body, or at least your clothing, to take with you at all times?
Adrienne Rich (I already have), Sharon Olds, Grace Paley, Richard Brautigan (poetic license there), Rumi, Jo Bell, Michael Donaghy, the author of the Song of Songs (in Hebrew), Elizabeth Bishop, Emily Dickinson
You can read the whole interview here, and find out more about my chapbook, Nothing Here Is Wild, Everything Is Open, here.

Sunday, April 24, 2016

Interview in Eclectica Magazine

I was interviewed rather wonderfully, I think, by Paul Holler, for the excellent Eclectica magazine - he sent me one question at a time and then the next, based on my response! It's mostly me chatting about writing - short stories, poetry, using science etc... Here's a taster:

PH One of the things I find interesting about your work is how you use and approach science. It seems to me that you are at least as interested in the culture of science as you are in pure science. Examples of this include "The White Road" and "Heart." In the former story, you focus on the everyday lives of researchers in Antarctica. In the latter, your character, a heart surgeon, reflects on the experience of seeing a patient's heart stop beating in her hand.
To what degree do you see science a way into the characters you create? Do your stories begin with a scientific inquiry or with a character making a scientific inquiry?

TH: You are right that I am just as interested in the culture of science—in fact, I am interested in every aspect of science, from the methodology and the mindset to daily life in a lab, the creativity of experiment design, and the wondrous and often bizarre vocabularies, which I love to plunder! As to what comes first, it's really hard to say. I immerse myself in science all the time, I read New Scientist every week, actively opening my mind to ideas which I could use as springboards into stories or poems. Stories begin with a character or, more specifically, a voice, which may be the main character or a narrator. It's that voice talking to me that generally gets me going. Poetry begins differently, with a phrase, with certain words.

What I actively do now is collide two ideas together, very often a scientific one with something else I have been thinking about, and see what results. I have been known to read two things at the same time—say, a New Scientist article and an article on something entirely different in another magazine—just to mess with my head and produce something new. Messing with my own head is an intrinsic part of my process!

You can read the rest of the interview here -  and do check out Simon Perchik's wonderful poem, Untitled, among the other delights in that same issue:

With her name in your mouth
more than a word, a morning
and everywhere on Earth
 You can read the full poem here.


Monday, April 18, 2016

Debut poetry collection coming 2017!

I am extremely and inordinately thrilled to be able to tell you that - hot on the heels of my debut poetry chapbook of 22 poems - my debut full poetry collection, This Is Not My Midnight, will be published in July 2017 by the fabulous Nine Arches Press! I can't quite believe this is happening, with poetry, oh my.

And with such a fantastic press, run by Jane Commane, whose taste in poets and dedication to poetry - her own authors and the wider community - I admire so much. Nine Arches publishes some of my favourite, favourite poets, not least of all my great friend Jo Bell as well as Isobel Dixon, Mario Petrucci, Maria Taylor, David Clarke, Abegail Morley, and, next year, Rishi Dastidar and Angela Readman. I can't tell you much more now, will keep you updated!

Saturday, April 02, 2016

Who Are We Writing To? Thoughts inspired by Wuthering Heights and Frankenstein

I just finished reading Wuthering Heights today - yes, for the first time! I am slightly behind on my classics. A few months ago I read Frankenstein. And both these books - I loved WH, but Frankenstein less so - do something which got me thinking about my own writing. Frankenstein is told in a kind of Russian-doll-like set of stories embedded in stories inside letters to people... The narrator is writing to his sister etc... so we don't hear from the protagonist (which might be Frankenstein or, alternatively, might be the monster) directly, but filtered through, frankly, too many filters for me to actually care about most of it. Wuthering Heights is also not told to us directly, but it is Nelly Dean telling Mr Lockwood all about what has happened with Catherine, Heathcliff etc...

What this got me thinking about was how worried I was, when I first began writing short stories, about who I was telling the story to. Surely there had to be someone who was being told, within the story? I couldn't get my head around the concept of it at all. And perhaps this is what was happening with Mary Shelley and Emily Bronte? Although it works, for me anyway, so much better in Wuthering Heights that perhaps this was Bronte's conscious choice, to have a single narrator, and everything filtered through/seen by her - because, frankly, had we been any closer to any of the main characters, this reader might have exploded! We still do have to suspend disbelief here - our suspicion that Nelly could never have remembered all these conversations in such minute detail (as well as the odd occasion where she seems to know what someone else was actually thinking)!

Slowly, slowly, I began to come to terms in my own stories with there not needing to be someone being "told" within the story itself, but that it was my "reader" - although it took years before I actually had any readers at all (not including my mother, who still thinks my best story was the one I wrote at 18 about the women who knits her husband a jumper and then stabs him while he is doing the washing up wearing it. Freudians, make of that what you will. No, that story will NEVER see the light of day.)

What I think helped me a great deal was that my first short story acceptance was not a print publication but was for radio - Radio 4's Afternoon Reading, in 2004. The story wasn't written to be broadcast, but when I heard the wonderful Lorelei King reading it, I felt like my character had moved outside of my own head, that she existed in the world, that she herself was speaking, rather than me writing her. Does that make sense? I cried. It seemed so preposterous, so miraculous, that I should have made her and then there she was.

That was the beginning of a beautiful relationship with radio - which widened from Radio 4 to Radio 3 and even dipped recently towards poetry - and that has definitely influenced everything I write. I read it all out loud, and I think that I am my First Reader, the first person the story is being told to. I tell it to myself, literally, as I am writing it. So that question isn't relevant any more. Of course, as my short stories began to find homes, in print and online, this emboldened me, to experiment, to play, and gave me the joyous sense that I was being read - by strangers - and that I also wanted to entertain these people who are so generous as to even get as far as my first line.

But that said - I don't believe that I think as I write, "What will a reader/listener think of this?" Or, actually, "Will the reader understand this?", which is more relevant to the kinds of weird fictions I write. I just wrote a short story for Radio 4 - it has been a long time since I've written fiction, I've been mainly writing poems, which are completely different for me - and I wrote it in the first person plural, the "we", which I love.

What am I trying to say? I'm not sure. If you think you might know, please do comment below! Do you feel like you need to know who you are writing to when you write? Have you read work that unsettled you because of this?

I suspect part of learning to love to read is learning to suspend disbelief that the book you are reading was not in fact written for you and you alone, is not talking directly to you. I'm not sure I could read in any other way; while I read I dissolve myself into it, especially the short stories I love, I become part of that wondrous thing that happens between text and reader, where something new is created each time.

I guess what I am trying to say in terms of writing is: Trust that this will happen, trust your readers and leave space for them. Frankenstein left no space for me, and as a consequence, I didn't enjoy it, didn't feel it. Wuthering Heights had me gripping my Kindle so tightly my knuckles went white. I'd rather that white-knuckle reading anytime, although my blood pressure may not agree!

Okay, back to Moby Dick now...

Monday, March 21, 2016

New short story published


Delighted to have a new short story, Octopus's Garden, published in the excellent online journal, Catapult! Here's an excerpt to whet your appetite:

Across the Universe All You Need Is Love. A Hard Day’s NightHard Day’s NightIt’s Been a Hard Day’s Night...

Click here to read the rest >>