Celebrate writing at Manchester Literature Festival

The-Royal-Exchange-Manchester-cr-Judy-Darley

This year’s Manchester Literature Festival promises a mixture of digital and real-world events celebrating writing in all its forms.

With #MLF LIVE from 9th-17th October and #MLF DIGITAL from 1st-14th November, there will be plenty to ignite imaginations, inspiration and an appreciation of how we can make sense of our world through reading, writing and experiencing literature.

Live highlights include:

Jeanette Winterson and Mark O’Connell in Conversation with Kate Feld.

Saturday 9th October 2021, (Central Library)

An Evening with Bernardine Evaristo
Monday 11 October 2021, (HOME Theatre)

An Evening with Colm Tóibín,

Thursday 14 October 2021 (Central Library)

Tenement Kid: Bobby Gillespie in Conversation
Saturday 16 October 2021, 8pm, HOME (Theatre)

Malika Booker, Vahni Capildeo & Jason Allen-Paisant

Sunday 17 October 2021 (Central Library)

Look out for exclusive commissions by exciting contemporary poets responding to our current times.

Celebrated poet and musician Roger Robinson was commissioned by Manchester Literature Festival to write a new series of poems exploring the idea of Black Lives Matter and how it pertains to the Black British experience.

A rising poetry star Caleb Femi was commissioned by Manchester Literature Festival to write new poems exploring the impact of solitude during the pandemic, touching on themes of the inner and physical self, friendship, joy and imagination as a coping tool.

California-born poet and the Director at the Centre for Imagination in the Borderlands at Arizona State University Natalie Diaz was commissioned by Manchester Literature Festival to write a series of poetic sensualities exploring the words ‘origin’, ‘migration’, ‘freedom’ and ‘love.’ The Festival say: “A deeply lyrical poet, she created linguistic maps of these words in English and Mojave, diving deep into their roots and the ways in which they echo in physical connection.

Find out more about these commissions and all the Manchester Literature Festival events: www.manchesterliteraturefestival.co.uk.

Got an event, challenge, competition or call for submissions you’d like to draw attention to? Send an email to judydarley (at) iCloud (dot) com.

Book review – Nora Webster by Colm Tóibín

Nora WebsterDrawing on the months and years after the death of his father, Colm Tóibín has created an elegant, honest portrayal of grief – not his own but his mother’s.

By shifting the point of view he edges from memoir into fiction, but the truths remain. Nora Webster has lost her husband Maurice, the man she’d intended to spend her life with, and now has to re-learn herself without him.

Through the novel Colm captures the sense of small town Ireland in the sixties, where to have your hair dyed is borderline scandalous and wearing a red coat to the first day on a job is regarded as distastefully showy. Nora is a quiet woman who left much of the opinion spouting to her husband, but now he’s dead she realises she has beliefs and ideas of her own. Continue reading

Colm Tóibín’s truth in fiction, and fiction in truth

Colm Toibin credit Brigitte Lacombe

Colm Toibin © Brigitte Lacombe

I first discovered Colm Tóibín through his voice, listening to him read one of his stories on some literary podcast. Of course, I fell at once in love – that cadence, that accent paired with his humour and intellect! Who could resist?

He visited my home town last week, appearing at Watershed for Bristol’s Festival of Ideas, to talk about Nora Webster, a novel drawn from his own childhood experiences, yet told from the point of view of a woman loosely based on his mother.

This is not memoir – but it is deeply wound in with Colm’s own memories, and his desire to capture the feel of the time and place he grew up in as well as the feelings he witnessed his mother go through following the death of her father.

He’s an extraordinary man – as comfortable with an audience’s gaze as he is with the quiet he must seek out to actually write. He speaks with wry amusement and a seductive generosity. Even those he finds baffling he regards with interest rather than anything like scorn.

He is uncommonly candid about his thoughts on almost any matter, from his susceptibility to suggestions of places to visit, which he blames for the fact he’s lived and loved so many places, to his time as a journalist “causing trouble in Ireland” by gleefully asking GPs for prescriptions for condoms (“it’s a young man’s game”) to the referendum taking place in Ireland the day after his Bristol visit, which will decide whether the constitution should be amended to allow gay marriage.

He describes a novel as “a thousand details”, and it’s a trait I’ve noticed in his short fiction too – layering telling details gently around his characters so that the world they move through becomes real, and their thoughts and behaviour becomes real.

Nora Webster coverWhen asked why he wrote Nora Webster from the point of view of the mother rather than the young boy based on himself, he says it’s because he didn’t want to write “one of those sad Irish stories, where a sad boy walks home from school and looks at a puddle and thinks it looks sad…”

The excerpt he reads from the novel is actually very funny, relaying the moment when the grieving mother decides to get her hair dyed and instantly, even before she leaves the hairdresser’s, regrets it. He talks of this being his way of capturing the beginnings of change in a small Irish town during the 1960s. They may not have had the fashions or rock and roll, but “the way women dealt with their hair changed.”

The book took him 14 years to write, which he puts down to the fact that “Putting shape on things that actually happened is very difficult. Every year I would add something, put in another scene, then step away.”

One of these scenes sowed the seeds that would become his bestselling novel Brooklyn, soon to be released as a film, so those 14 years weren’t solely devoted to the mulling and dithering required for Nora Webster.

He speaks of the time after his father died, explaining how he and his brother were constantly watching and listening, trying to figure out “how things would be now.” It meant he soaked up a mass of moments which seemed unnaturally heightened, and which crop up throughout Nora Webster. As a result the book is shored up by truths that offer up the  impression of real life unfolding on the page, though he does admit to one rather wonderful, entirely fictional, flourish. “I needed to lift her out of it,” he says of her despondency, “It couldn’t just carry on, page after page, so I got her to sing. And that never actually happened. I just needed it for the story.”

Nora Webster by Colm Tóibín is available to buy from Amazon.