Spoken Word II
Daunt Books Festival 27/28 March – Part Two
Bright Young Novelists: Adam Foulds, Rebecca Hunt and Evie Wyld interviewed by Edmund Gordon
The second event in the first day of the very first Daunt Books Festival recently featured Edmund Gordon – a critic currently writing a life of Angela Carter – speaking to three young writers based in the UK but keen on far flung settings.
Rebecca Hunt’s Everland plots two Antarctic expeditions 100 years apart, commencing in 1913 with three sailors trying to make their way to the small island of Everland in a dinghy after a storm. She highlights the danger of hope at the poles – in the form of kelp, or a cormorant – as a sign that land is nearby can of course be a mirage or salvation.
Hunt is very good on the practicality of life in this extreme place – of lugging things and people – that Scott and others were irritatingly noble and upbeat about in their diaries. It was drudgery. Also, carrying a dead or ailing body at the Pole is a dead weight that can kill you. It slows you down when there is no such thing as time to spare. She also deftly illustrates fraying tempers as a result of this pressured race, often with language ‘so violent it didn’t have a sound’.
It is also always good to hear about Hunt’s explorers living on pemmican (spiced, preserved seal meat) as a staple of the Polar menu. The last time I encountered this calorific snack was in an almost unbearably perky book provided by my grandmother: Susannah of the Yukon. Susannah is quite the explorer, defying the Mounties to strike her own gold claim aged nine. Her love of the frontier started this whole messy personal obsession with frosty horizons and the ends of the earth.
Evie Wyld then discussed her second novel: All the Birds, Singing (her debut was reviewed on the site here). The protagonist moves to a sheep station after an offer to become a form of maid ‘with advantages’, having been a prostitute in the city. The arrangement, having turned out to be less than advantageous, turns south and our heroine prepares to flee her trap. Amid a general backdrop of acute unease, she tries to plot her captor Otto’s mood every morning by the time he unlocks her door to release her in order to pick the perfect moment to run. The description of her disabling a truck engine on guesswork – throwing washers away frantically to buy herself time – is one of the most tense pieces of writing I have ever encountered.
Her escape is foiled by the dog jumping up and down with rage at the sight of her starting its master’s Ute (a car for those like me who did not know). The woman and dog are bound together; however it is the lady who runs the risk of being tapped on the nose with a rolled up comic for a misdemeanour. Wyld is always great on dog behaviour, describing “not a smell of hello but a smell of what are you up to”. She also delivers painfully sharp flashes of physical interaction: “every time we finish” having sex, Otto acknowledges this by “slapping the meat of his gut”.
At the sheep station, by dawn the air is already thick with flies. Breakfast is chops with eggs. There is a ewe with a black spotted nose. All of these shards of imagery are nearly familiar but ultimately combine to form an undeniable picture of Otherness. Australia is as familiar as a photograph, but blurred and off kilter. In response to a question about writing about far removed places rather than attempting to capture the areas of London that are currently moving fast, Wyld explained that she would rather get lost in her imagination than write about the Peckham she knows and get it ‘wrong’, as she would incur the wrath of the locals directly in the bookshop she runs.
Adam Foulds, having read a section from his most recent novel The Quickening Maze, was asked by an audience member when the best time to have been a writer was. His answer was 1885, due to the sheer number of contemporaries he could have enjoyed – Robert Musil and Thomas Mann in particular – however someone made the valid point that he would have been called in that case. A short pause ensured before he responded with a gentle defence for his choice: “Obviously, it had its risks.”
The process of writing a second novel was more like going back to square one than any of the three authors could have predicted. Each new endeavour is started by saying “This will be the one where I say what I mean”. Which in turn drives the impulse to keep going. Which is good news for the reader.