Wednesday, 1 October 2014
Goldsmiths Prize shortlist: stickers!
For a publisher the size of CBe, that Will Eaves’s The Absent Therapist is on the Goldsmiths Prize shortlist, announced today, is BIG. Even if it doesn’t send sales rocketing, even if it may mean nothing financially. (Ken Edwards of Reality Street may have felt similar when Philip Terry’s Tapestry was shortlisted last year.)
Last year’s shortlist was almost universally (well, in the little universe I inhabit: a universe that was tired, tired, tired of the Booker) applauded. That the eventual and deserved winner was Eimear McBride’s A Girl Is a Half-formed Thing – a novel that had spent a decade being turned down by every major publisher in the land; a novel that did what it had to, irrespective of the rules of the game, and went on to win a clutch of other prizes and is now garnering reviews-to-kill-for in the US – confirmed the Goldsmiths as necessary. The timing was immaculate: book and prize, in its inaugural year, seemed made for each other.
This year the first-day responses to the Goldsmiths shortlist have been more subdued. The overlap between certain books on the Goldsmiths and the Booker lists (long, short, it’s not worth checking, it’s not important) was noted. One blogger has asked for a clearer definition of terms: Booker ‘the best novel’, Goldsmiths ‘to reward fiction that breaks the mould or opens up new possibilities for the novel form’. ‘Best’ is huh, is meaningless. ‘Breaks the mould’, you can see what they’re getting at, even if not exactly, which is the whole point. Prizes, definitions. The books come first, and then a little catching up (a little scurrying around, a little re-alignment) of how to notice them.
Yesterday night, the Forward Prizes for poetry were awarded; poetry is another camp, in which one of my feet is planted, and the Forward things are top (or go head-to-head with the TS Eliot, slugging it out year on year) in that camp, and I think they made good choices (Kei Miller, Liz Berry). I say I think because I haven’t actually read either of the books. I say good choices because of the relief of knowing that it’s not John Burnside, Sharon Olds, Simon Armitage, Don Paterson, Robin Robertson, again.
Which is deeply unfair, because those named names are excellent poets. (Not that I’d guarantee to publish them, if they were reduced to coming my way: there’s the feeling, not just mine, that I’ve read them already.) (Same goes for a number of submissions that ping in the in-box: wonderful writing, but in a mode I already know.)
There’s a demographic problem (people living longer), and literary careers going on and on while the next and then the next generation come to the party, and mainstream publishers having tight little lists, and the pressure building and ground opening up for the smaller publishers, not to mention online, and the ways in which people write also opening up, and one of the most interesting things about the Goldsmiths prize is the expectations put upon it.
Meanwhile, you can buy Will Eaves’s The Absent Therapist here and I’ll post it tomorrow, free delivery in UK. (I collected a new print run at 7 a.m. yesterday from the printer, stickered them and then lugged boxes over to the warehouse. I can’t think that there’s ever been a more interesting time to be publishing.)