THE DIALECT DILEMMA: LISTENING TO THE GIRL WITH THE LOUDING VOICE

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I’ve gone on and on about accents and dialect in audiobooks. They often drive me nuts as a listener. But I’ve never been as nuts as I became listening to Abi Daré’s The Girl with the Louding Voice.

Here the problem wasn’t just the dialect and accent, which I found hard to understand. It was the voice.

Distracting Dialect

This gripping and heart-wrenching story is told through the narrative voice of Adunni,  a 14-year-old girl from a small rural village in Nigeria. She speaks in what I believe is a version of pidgin English, which struck me as similar to the speech of many non-native English speakers. Many listeners praised this “Nigerian accent” in Amazon reviews.

I’m all for dialect, too.

Zooming with a World Famous Editor and a Debut Author with a Seven-Figure Advance

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Let me say first that this was a large Zoom group, and the editor and author are both alumni of Selwyn, one of the colleges of the University of Cambridge, as I am. I did manage to ask one question. Since it was a private group I shall not name the figures, though you may be able to guess who they are, particularly the editor.

The editor founded one of the largest independent publishers in the world in the eighties, and has published Booker Prize winners and Nobel Prize winners. He also discovered JK Rowling–to whom he offered the princely advance of £1,500 for her first novel. (Her agent persuaded him to raise the offer to £2,500!) Many people in the meeting asked questions about how to find a publisher, whether an agent was necessary, and so on.

Three Fantasies

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Victor LaValle, The Changeling, 2017, Maggie Stiefvater, Call Down the Hawk, & Tasha Suri, Empire of Sand, 2018

Fantasy fiction seems to be in the midst of a crisis. The content of recent novels is ripe with bizarre plots and characters––the more extreme the better. Of course, I’m basing this on a small sample, but it’s worth pointing out in hopes someone will read this and prove me wrong.

I couldn’t finish The Changeling, an award-winning novel. It is billed as a fantasy, but what makes it so is a macabre story line where the fantasy portion only appears half way through the book. The book’s title doesn’t make sense for over two hundred pages. The Changeling is really horror, not fantasy, fiction.

In Praise of Head-Hopping

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17 FEBRUARY 2021 In Praise of Head-Hopping

“She had discovered that this was the tragedy of being human: unlike every other living thing, each person lived alone inside themselves, always seeking to build a bridge from soul to soul but never really succeeding, at least not for a few shining moments, now and then.” –Carol Bird, A Home Worth Having, 2020.

The great human paradox. Anyone who has lost a loved one to death—and we all have—knows it is so. All human souls have the grief of loss in common, yet each of us must grieve alone. And because this paradox is so obvious in our lived experience, we try to transcend it. Failing that, which we invariably do, we deny it.

Is that why editors of fiction so often insist that human points of view must always be given in isolation from one another?

FAVORITE BOOKS ON PANDEMICS, PLAGUES, AND SOCIAL ISOLATION

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Last month I asked readers about favorite books on pandemics, plagues, exile, quarantines, and social isolation–on many of our minds for obvious reasons. This month I wanted to share the list of selections in case you have a bit of time on your hands.

Thanks to everyone who helped me build these lists. I’m looking forward to reading some of the selections as the lock-downs promise to continue. Then again, perhaps I’ll just keep plowing through Proust.

Fictional Books on Pandemics, Plagues, and Social Isolation

Here’s a short list of fictional books on pandemics, plagues, and other human tragedies that require quarantines and other forms of social isolation:

  • The Decameron by Giovanni Boccaccio. Ten young Italian aristocrats flee Florence to escape the bubonic plague and self-isolate in a secluded countryside villa telling stories, some tragic, some bawdy and irreverent.
(Continue Reading)

Why Fiction Writers Should Read Shakespeare

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The Droeshout portrait, 1623. Martin Droeshout never saw the subject, but this is supposed to be the best image of the man.

It struck me recently that I still hadn’t read all of Shakespeare, and there was no real excuse. After all, I claim to be a writer, in English, and Shakespeare has been regarded as the prince of poets for four hundred years. It’s possible that in our benighted days, when even university curricula frequently try to teach identity politics—which means bombarding their students with woke authors of cool ethnicities and sexual persuasions, among other things—Shakespeare, as a Dead White Male from an evil colonial country, is considered irrelevant, or worse, pernicious. But quite apart from the fact that the man was surely gay or bisexual (it’s hard to imagine anyone who’s read the sonnets coming to any other conclusion) and that his plays are full of gender-fluid people, there are compelling literary reasons to read him too.

Maggie Stiefvater’s Call Down the Hawk

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Call Down The Hawk is book one of The Dream Trilogy by fantasy author Maggie Stiefvater. Stiefvater has created a unique fantasy world in which there are dreamers who can create things in the real world––some times those dreams are under their control; sometimes not. Sometimes they dream duplicates of themselves, which can get complicated. Then there are those who are hunting the dreamers to kill them.

Stiefvater is a master at creating fantastic worlds. The problem to this reader is that the world overwhelms the story. The lack of a defined plot in the early chapters made my following the story a challenge. That’s an issue which only improves slightly as the story progresses.

That’s not to say she doesn’t create interesting characters as well as well as interesting possibilities.

When Virtue is Absent

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16 JANUARY 2021 When Virtue is Absent

Think of a movie or book you love where not a single character, not even the hero, is truly virtuous. For old-timers like me, “The Sting” (you know, starring Robert Redford) immediately comes to mind. For literary types, “The Talented Mr. Ripley” by Patricia Highsmith. Both are about con artists, though the crooks in “The Sting” are fun and are just ripping off illegal gamblers, where Mr. Ripley is, well, pretty much everything that personifies awfulness. The fact is that there are compelling anti-heroes for all literary tastes, the common ingredient being that we somehow end up rooting for them despite their criminality. What is the point of works like this–what are we supposed to do with them? Now that I’m working on a novel about a professional rumrunner during Prohibition (based very loosely on my grandfather), these questions are beginning to haunt me.

WHAT’S YOUR FAVORITE BOOK ABOUT SOCIAL DISTANCING?

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One “silver lining” of the COVID-19 pandemic has been time (dare I say too much time?) for reading. I am plowing through my library, and may even complete my lifelong quest to finish Proust. I’m also drawn to books about social distancing, pandemic-inspired and otherwise.

I know I’m not alone here. The movies and documentaries about plagues and pandemics topping Netflix’s lists make that obvious. So do recent book club suggestions to resurrect books like Love in the Time of Cholera and Station Eleven. So I thought it might be fun this month to see what other books about pandemics, plagues, quarantines, exile, and/or social distancing homebound readers have found.

Socially Distant Stories

As both an historian of medicine and science writer, I have many books about plagues and pandemics on my bookshelves.

Tana French offers top-notch Irish mystery writing

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Some of the finest thriller and crime writers of all time have come from the British isles starting with Charles Dickens, Arthur Conan Doyle and Agatha Christie. Ireland’s Tana French is on the path to joining the coterie of highly regarded contemporary mystery/thriller authors who include P.D. James, Raymond Chandler, Dorothy Sayers, and Lee Child.

French has a unique story-telling style that may not suit all readers­­––particularly if your preference is for short, action-filled scenes. French constructs her stories as if building a castle, stone by stone.

Both novels I read had female protagonists struggling to following their intuition and not the rules set for them by their male counterparts. This is done without preaching which I appreciate.

In The Likeness French sets the story around a unique set of circumstances––the victim of a murder bares an uncanny resemblance to a former member of the Murder Squad, a specialist in going underground in disguise.

Daphne du Maurier and the Absent Self

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15 DECEMBER 2020 Daphne du Maurier and the Absent Self

Speaking of self-suppressing heroines (well I was, anyway), consider the protagonist of Daphne Du Maurier’s blockbuster 1938 novel, Rebecca. This first-person narrator is so self-deprecating that she never thinks it worthwhile to reveal her name, though she makes it clear that it’s a memorable one. The Rebecca of the title is the first Mrs. Maximilian de Winter, the narrator’s predecessor in marriage to a handsome but brooding aristocrat a good 20 years older than his naïve new bride. The plot centers on the narrator’s sense of utter inferiority—to the point of self-erasure—in comparison to her husband’s formidable first wife. The novel’s ingenious arc is only incompletely evident in the multiple movie and mini-series versions made over the decades (the best and most famous of which is Alfred Hitchcock’s 1940 film).

AUDIOBOOKS AND ACCENTS

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How does the narrator's accent shape the reading experience?
How do a narrator’s accent and voice shape the audiobook experience?

Do a narrator’s accent and voice necessarily enhance the audiobook experience, even if they differ from the author’s? Clearly some audiobook producers think so. But would the author agree? The reader/listener?

I pondered audiobooks and accents in last month’s blog (The Narrator’s Accent). It turned out that I wasn’t the only one with strong opinions on the subject.

Most people who responded turned out to be fans of accented audiobooks. In this month’s blog, I share some of their responses.

The Audiobook Experience

Is a regional accent helpful in creating atmosphere? Or does it restrict a listener’s imagination? Does it pull you out of the story because you are struggling to understand the words?

Why Fiction Writers Should Read (and maybe Write) Poetry

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Most fiction writers don’t read much poetry, let’s be honest. I confess I don’t read much contemporary American poetry myself. So much of it is either incomprehensible–even to someone who has a higher degree in Creative Writing–or pretentious, or simply tedious in its insistence on the usual woke themes. However, this past few weeks I’ve been reading the Oxford Library of English Poetry, a three-volume anthology edited by John Wain, and have found it not only immensely pleasurable, but also, I believe, useful.

Let’s take the pleasure part first. This anthology contains no American verse, and as Wain himself admits, there have been many great American poets. If you were to make an anthology of the best verse in English, a number of them would have to be included: Whitman and Emily Dickinson are two obvious giants.

Revolutionary Jack Reed’s Story Worth Knowing

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Alan Cheuse’s 1982 lyrical biography of John Reed is mistitled. While the title refers to Reed’s fellow travelers of the cultural and political upheaval that took place during the first decades of the 20th century, it is Reed’s life story that Cheuse has told no doubt because Reed in many respects was one of the main players in that era’s story.

Reed is best known for his Ten Days That Shook the World, the story of the Communist takeover of the Russian Revolution. Before travelling to Russia where he passed away in October 1920 from typhus, however, he had chronicled for alternative magazines like The Masses, the labor movement wars in the U.S. and the rise of the socialist movement in the U.S.

Do Selfless Heroines Need to Be Self Suppressing Women?

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16 NOVEMBER 2020 Do Selfless Heroines Need to Be Self Suppressing Women?

“She knew, to the moving of a feather, what she could do with him and what she could not. Her immediate wish was to enable him to draw all possible pleasure from his triumph of the day, and therefore she would say no word to signify that his glory was founded on her sacrifice.” –Anthony Trollope, Golden Lion of Granpère

Every inch the Victorian novelist, Trollope regarded female self-sacrifice as a cardinal virtue. And yet he was surprisingly ahead of his time–and ahead of other male writers–in exploring the problems of identity, self-worth and self-assertion among his female characters. He was sharply aware of the untenable and unethical oppression of women in patriarchal Victorian society. His scores of novels relentlessly explore this problem.

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10 NOVEMBER 2020

THE MAKING OF A THOUGHTFUL DETECTIVE STORY—AN INTERVIEW WITH ERIC D. GOODMAN

Think of Detective Sam Spade. Or Mike Hammer. Then put him in a beautiful location with fascinating history and culture and give him a soul that’s open to change. Author Eric D. Goodman takes this combination and stirs it up with a mystery that hinges on clever hidden clues and long-held secrets. The result is The Color of Jadeite, a noir novel that’s packed with fast action, riveting characters, and a sense of purpose.

When an unknown collector sends retired investigator Clive Allan along with Asian beauty Wei Wei to China to search for the lost jadeite tablet of Emperor Xuande of the Ming dynasty, the elements of the novel begin to swirl like a kaleidoscope.

THE NARRATOR’S ACCENT: VOICE AND AUDIOBOOKS

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How does the narrator's accent shape the reading experience?
How does the narrator’s accent shape the audbiobook experience?

Oh no, I thought, as Dominic Hoffman read the opening lines of Yaa Gyasi‘s Homegoing with what struck me as an African accent. Thanks to the narrator’s accent, I am going to struggle to understand this audiobook. Plus I was miffed to hear a man narrating a book written by a woman and following a matrilineal lineage.

My next audiobook experience evoked similar reactions. In Say Nothing, Belfast actor Matthew Blaney uses a thick brogue to read Patrick Raddon Keefe’s “true story of murder in mystery in Northern Ireland.” This time whether the voice was recognizably male or female didn’t bother me, however: gender seemed less central to the narrative, which involves a woman’s kidnapping, plus backstory about the IRA during the Troubles.

Martin Amis vs. Bernardine Evaristo

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Photo by Javier Arce (cropped). https://creativecommons.org/licenses/by-sa/2.0/deed.en

Feud! This week one of my favourite authors, Martin Amis, said in an interview (in the Evening Standard, 21 October 2020) that he had not read the latest Booker Prize winners because ‘You don’t feel a literary push behind it. It’s politics, it’s sociopolitical considerations rather than literary like the Nobel.’ He also said that ‘To read your contemporaries, let alone your juniors, is an uneconomical way of dividing your reading time.’ So how did Bernardine Evaristo, the Booker winner, react to this?

Just two days later, in the same British newspaper, Evaristo lashed out: ‘Amis seems to belong to the school of privileged male writers of a certain generation who have benefited from a white, patriarchal society for decades.’