Tim Parks is a Booker shortlisted British novelist who has developed a global following. This has come about from a lengthy career of 16 novels, for his non-fiction work, from journalistic pieces in Italy where he has lived for many years, for his translations from Italian to English and as a contributor and columnist for the New York Review Of Books where these essays first saw the light of day.
His emphasis here is on reading and writing and he posits many thought-provoking ideas on these subjects. How we behave as readers and how writers behave as writers are both examined. I couldn’t help but notice that Parks differs from me very early on. He’s a one for not finishing the books he is reading and I can follow the reasoning behind “if only because the more bad books you finish, the fewer good ones you’ll have time to start”. I personally find it very difficult to give up on a book, I’m not sure when I would have last done this but it would have been, quite frankly, years ago. Parks attributes my particular reading behaviour to some throwback to my childhood when finishing a book felt like such an achievement that it was to be celebrated and that I’m still in that mindset many years on. Okay, maybe that could be the case but I also feel that finishing a book I haven’t enjoyed helps me clarify exactly what I like/don’t like about books. Maybe, also my Magnus “I’ve started so I’ll finish” Magnusson approach is because of the respect I hold for the achievement of the writer of getting the book to the finished and published stage, whatever the quality.
But wait a minute! Parks also advocates that it is permissible to give up on a book you are enjoying if you feel that you have reached a natural place to finish, even if it is not the end. What? This sounds to me like eating a piece of cake and thinking “I’m really loving this but I’ll think I’ll leave it there and not eat the rest”. That’s not going to happen with me but I suspect Tim Parks would do so. He’s going to be much slimmer than me too isn’t he?
An area I found interesting was his views on the globalisation of the novel. As worldwide markets grow authors are writing books without the local colour and themes which might restrict their sales markets. This is happening both in English speaking markets and also translations where too much region-specific writing and ideas may prove problematic for translators and lessen the author’s chances in selling worldwide. I know that one of my regular contributors to this blog, Monika, would find Parks’ views on translations interesting as they reflect ideas which she has aired herself on here in the past. To be honest, I’ve never really given that much thought about the art of translation and I was interested by the author’s viewpoints. As an aside to this book what Parks mentions is happening in the world of literature is also now prevalent in popular music where streaming has led to a globalised market. Watching a chart rundown recently it was impossible to tell where artists come from as (and I don’t think it’s my age here) it was all sounding pretty much the same.
I’ve never read any of Tim Parks’ novels but reading this book I feel that I should and it is hard not to be mentally adding works by other authors he references onto the to-be-read list. I found this an interesting set of insights about reading behaviours and attitudes and just what book writing and publishing will be looking like in the future.
Where I’m Reading From was published by Vintage, an imprint of Penguin Books in 2014
As part of Sky Arts’ “Failure Season” (as good a season as any other to have I suppose, it seems a very British thing to celebrate failure!) came this hour long documentary in which journalist, restaurant critic and TV presenter Giles Coren recalled his failed attempt at the literary novel. Back in 2005, Coren, with a £30,000 advance (a very healthy amount for a debut literary novel- his high profile helped) had published “Winkler”. The experience put him off novel writing.
He knew he had a failure on his hands once he saw the reviews but was shocked to discover during the programme that his total ten year sales were 771 in hardback and 1400 in paperback. His agent tried to reassure him that these were acceptable figures for a literary debut (staggering that) but perhaps not one from a high-profile figure with a publishing company keen to recoup their advance. During the programme Coren had to face up to different aspects of the failure of his novel – a tale of “an angry young man who hates everyone…………a sexually frantic coming of age novel.”
Along the way there were a number of revelations especially from Alexandra Pringle, Editor in Chief of Bloomsbury who said; “Quite a lot of books that are published are no good, let alone the ones that don’t get published” and “It’s perfectly possible to publish a book and not get any reviews at all” a fact which those of us who indulge in the mad scramble for titles with review allocators such as Netgalley will no doubt register some surprise.
Coren went to visit a reviewer who had savaged his book, having read “some of it” and sorted through his knife drawer! He met author Rachel Johnson at her book launch who said; “People want the same thing over and over again. Don’t ever try to do anything new.” Jeffery Archer talked about his god-given talent, drive and determination (!) all of which he felt that Giles Coren lacked and Archer certainly bucks the figures of the average author’s earnings of £4,000 a year. Hanif Kureishi, David Mitchell, Rose Tremain and William Nicholson also gave their views.
By this time I was feeling sorry for Coren, squirming as a book group found his work challenging (but in the marvellously constructive way of book groups thought he had it in him to write a better novel) and students from a MA Creative Writing course were so sniffy it made for excruciating viewing and with lack of success almost guaranteed for most of them it did make you wonder why they just didn’t do Geography instead! Coren looked at the effects of literary prizes but acknowledged his sole accolade (The Bad Sex Award) hadn’t really helped sales. He also admitted that he hadn’t thought about his readers at all when he wrote the novel (obviously the most resounding nail in his literary coffin) but felt that the process of re-examining failure might just have re-lit a tiny literary flame within him.
This was actually a fascinating hour and Giles Coren is open and likeable enough for the viewer to feel amused, annoyed and sorry for him. I’ve revealed more than I would normally do regarding the programme details because tucked away on Sky Arts it’s likely that this did not attract that large an audience and I think there were a lot of very interesting points made. Let’s hope the audience figures were higher than the number of purchasers of his book. For the many of us with at least one finished, unpublished novel stuffed into a cupboard this was essential viewing.
Giles Coren: My Failed Novel was first broadcast on Monday 29th February on Sky Arts. It is currently available on Sky catch-up services