Bellowing at the Moon

Blue Self-Portrait, Noémi Lefebvre (Translated by Sophie Lewis): Les Fugitives

This short novel in translation from Les Fugitives Press is as unputdownable as it is unforgettable. Mid-flight between Berlin and Paris, our female narrator constructs a narrative of herself that weaves between memory, assumption, speculation, and (in rare and brief moments) the details of the flight she’s actually sitting on. Equally between locations as between languages, she must spend the flight time switching back to French from German, as her thoughts veer between the two modes and the two countries. In a space never fully occupied by itself, this novel explores the flights of imagination that keep a restless mind ever-elsewhere.

Blue Self-Portrait

‘If I’d allowed my inner goings-on to show you’d have taken me for a cow bellowing at the moon’

This metaphor is returned to throughout, suggesting the narrator’s inner stream of consciousness – in which we, the reader, are immersed unrestrainedly – is the equivalent to a howl of inarticulable, bestial noise. This is deftly juxtaposed, however, with the exquisite and virtuosic sweeping prose of the novel. Rhythmic, cyclical, polyphonic. Sentences can carry for the length of a paragraph (or more) which, in turn might run to several pages. Within a single sentence conflicting ideas, contradictory thoughts, randomly associated memories will be brought into a kind of rhythm with one another that is utterly compelling. Dwelling particularly on the subjects of painting and music (Schoenberg and his blue Self-Portrait), the novel effectively accomplishes its own inner musicality, while presenting the spectre of a self-portrait lived between memory, association and speculation.

The novel retains its high intensity throughout a narrative that could be read in a single, uninterrupted and fervent sitting. Within these pages are both the remembering and the forgetting of the horrors of the world, the personal and intensely lived experience of being, and an ardent resistance to all notions of collective happiness in its variety of forms.

Beautifully pitched and compellingly virtuosic, Blue Self-Portrait is translated from Lefebvre’s original French novella by Sophie Lewis and published by Les Fugitives Press which specialises in publishing only short novels by award-winning francophone women writers. Despite its brevity, Blue Self-Portrait has an epic feel to it, and the precision of Lefebvre’s language demands an exacting translation by Lewis. Les Fugitives is dedicated to bringing such novels as this to an English-reading public, and we are the richer for it.

Click here to buy Blue Self-Portrait directly from Les Fugitives.

About the Publisher: 

Les Fugitives is an award-winning independent press dedicated to short, new writing by francophone female authors previously unavailable in English.

Review by Sally-Shakti Willow

Sally-Shakti Willow researches and writes utopian poetics at the University of Westminster.  She is Research Assistant for the Contemporary Small Press.

Work-in-Progress

The Practical Senior Teacher, Finella and Philip Davenport (Curated by Tony Trehy)  Knives Forks and Spoons Press, 2016

‘bbbbut…’

Finella and Philip Davenport’s The Practical Senior Teacher is a book in the loosest possible sense of the word, and yet also in multiple senses of the word, too. First the loose associations: This is a collaged work spanning over thirty years begun by sister and brother Finella and Philip Davenport (collaborating as The Gingerbread Tree) in 1984 and continuing to evolve as a work in progress to this day. The pages collected, printed and bound as the 2016 KFS edition bearing the title represent a fraction of the 300-plus page work that exists and has been exhibited in loose-leaf form at the Text Festival in Bury and the Storey Gallery in Lancaster.

Beyond the codex are the physically collaged pages incorporating layer upon layer of magazine cut-ups, adverts, government health warnings, comics, paint, lipstick, scribbled notes and empty painkiller packets. The book is just one possible iteration of the project of The Practical Senior Teacher, and readers can accompany their reading with the YouTube playlist The Margaret Thatcher Museum for an additional, aural, layer to the collage. Further videos by The Gingerbread Tree feature collaged pages from the book thrown into alternative contexts.   This is a restless and relentless project, a perpetual work-in-progress that has been continually worked and re-worked since its inception. The ‘book’ is just a part of it.

Yet this project also fulfils the definition of book from multiple perspectives. The title, The Practical Senior Teacher references the original textbook that forms the substrate for the composition of the collaged pages. This book started life as a textbook for school teachers in the Thatcher era, and the subsequent collage-work provides its own document (Old English boc, book) of those times through its incorporated layers. This is both a personal and a cultural document of those years, creating a history from the detritus of a throw-away culture interwoven with the debris of personal crisis and development. Pages documenting Finella’s experience of the life-threatening post-natal condition HELLP are left unchanged by Philip, yet the condition is represented, like everything in the book, by its waste products.

the practical senior teacher

Throughout the book, various excerpts and iterations of Finella’s poem Bee Scandal are woven with the collaged pages, giving a kind of loose metaphorical narrative of a society disintegrating and self-destructive – the same society attested to by the decades-long collage project.

The days

we hid in a      basement

beneath the incessant buzz

didn’t know which side was winning

took turns to take

guard

(ear to the radio:

the well-bred

            the dead

 

will take

the Queen

The poem carries echoes of a bunkered and broken society as well as a colony of bees in a hive. As the poem becomes more fractured and fragmented the bees themselves begin to pile up ‘like abandoned rubbish … trash stings scattered needles’ – again interweaving the twin narratives of the bees and the society they echo. The bees piling up like abandoned rubbish, their stings scattered like the needles of a drug user. Society itself broken and addicted. Each reduced to its own destruction. Through collage, however, the abandoned rubbish becomes the material of recreation, the constant reconstruction as work-in-progress with whatever materials happen to be at hand.

Other fragments of text from the layers of collage appear and disappear through the worked pages – whose most recent form of reworking includes digitisation. This has allowed pages to be duplicated, mirrored and adapted digitally; distinguishing the collected pages from their material counterparts and enabling effects such as reversal and repetition that further distort the reading and disorient the reader.

When the work was displayed in Lancaster it was as part of Understanding the Ritual, an exhibition of art-shamanism, and it’s this that interests me the most about The Practical Senior Teacher: the ritual process at play in the project. The restlessness of the ritualistic acts that have compelled Finella and Philip Davenport to keep creating, destroying and recreating this work for over three decades, and the alchemical transformation of that act physically, mentally, emotionally and perhaps even spiritually. One of the most intriguing text-fragments for me is set onto a page painted almost entirely red and includes the following mythically-resonant phrases:

‘Heart of Dionysus

 

heart of hare

not eaten lest it make the eater timid

heart of lion or le[op]ard eat           heart of wolf

& of bear

eat to acquire courage

 

SCREWS YOU UP’

The final phrase is taken from the 80’s Government health warning ‘Heroin Screws You Up’, and there’s so much going on here. Is the eater of the wolf’s heart the mythical equivalent to a junkie? Does the juxtaposition suggest equivalence or contradiction, or something less exact? The association with heroin brings to mind a play on wasted / waste / wasteful that resonates with the theme of detritus throughout the book and finds another expression in the empty pill packet representing a moment of serious threat to Finella’s life.

Like the making of this ‘book’, the reading is a work-in-progress, an unsettled and unsettling process of excavating and creating connections within, between and beyond the pages. No two readings are ever the same and there’s no fixed ‘meaning’ to discover. Reading this book is a physical process that can, if the reader chooses, engage multiple senses and experiences. For me, its magic is in its perpetual openness to recreation, coming alive at its multiple points of connection, writing and creating not only the lives it contains but also the lives it touches.

Click here to buy The Practical Senior Teacher direct from Knives, Forks and Spoons Press.

About the Publisher:

Knives Forks and Spoons Press is a prolific publisher of avant-garde poetry by internationally acclaimed poets and emerging young writers. ‘KFS is a forum for an extraordinary range of diversity and risk-taking artistic experiment.’

Review by Sally-Shakti Willow

Sally-Shakti Willow researches and writes utopian poetics at the University of Westminster.  She is Research Assistant for the Contemporary Small Press.

 

Women, Writing and Freedom

Linen Press in collaboration with The Contemporary Small Press 
Keynote talk by Maureen Freely, President of English PEN.

‘A word after a word after a word is power.’ Margaret Atwood

In a masculine centred literary tradition that values male over female voices, women refuse to be silenced and continue to tell the truth about their personal and political lives. Join us in exploring the politics of silence and in honouring the voices of women writers everywhere who, despite repression and invisibility, risk all to give voice to the need for liberation and freedom.

Thursday 19th October
17.30 – 19.30
University of Westminster
309 Regent Street
London
W1B 2HW
Freedom

Speakers:

Keynote speaker Maureen Freely on the crucial work done by English PEN and like-minded partners, with particular reference to women writers.

Hema Macherla on the plight of Indian women – fallen women, broken women and women shunned by society.

Avril Joy on working for over twenty-five years with women writers in HMP Low Newton.

Lynn Michell on publishing women writers. She is here to celebrate ten years of Linen Press and to launch The Red Beach Hut.

This event is hosted by Linen Press – a small, independent press run by women for women – and the Contemporary Small Press, which aims to promote, explore and facilitate the work of small press publishers of fiction and poetry.

Skimming over Black Glass and Counting Lies

The Red Beach Hut by Lynn Michell: Inspired Quill, Release date – October 2017

‘Ready?’ Always the same word. The same starting gun. He liked that.

Are we ever truly ready for what life throws at us and can we outrun fate? As Abbott, a gay man who works with troubled boys, runs to the refuge of a red beach hut during a time of fear, persecution and the threat of his life being torn down, he meets an unlikely friend, Neville, a young boy aged eight. Lynn Michell writes a beautifully innocent and endearing tale twisted by the tainted gaze of society’s perverse darkness, as two lost souls find hope in their unlikely companionship amidst their separate turmoil. As the odd yet surprisingly complementary pairing draw the attention of others’ gazes, which eventually places them under suspicion, Michell subtly tackles prejudice by treading the thin line between what is and is not appropriate. Abbott continuously questions how his actions may be read and misconstrued by those watching, yet both Abbott and Neville provide each other with the quiet trust, understanding and constancy they are each searching for in a time of need.

TRBH crop

The novel’s structure eloquently intertwines memories and inner dialogue throughout, weaving Abbott’s childhood memories of days on the beach with his aunt and the terrible mistake that led to him running from his current life. The Hut becomes a refuge and a safe place to revisit these memories – a place of innocence and happiness. Meeting Neville helps Abbott, in many ways, to recapture this time and see the world through a child’s eyes once more; allowing him to share the heartfelt, excited, compassionate, and honest perception of Neville. Michell develops the characters with an undercurrent of stillness running through their fibres; capturing the mind of Neville with such authenticity and attention to detail, which is no small feat. She interlaces his inquisitive nature with a quirky need to count everything in an attempt to appease an anxiety for order, rules and consistency. The literal, black and white mind of a child tests the grayscale of an adult’s mind, as Michell captures deep and poignant moments when tackling the truths and lessons people learn as they grow up.

Neville has a fascination and desire to understand words, to understand language and his place within it. Abbott meets this desire through the knowledge he’s gained whilst working with troubled boys, providing Neville with an adult figure who will actually be honest with him and treat him as an equal – recognising that he needs consistency and someone to take the time to know him. 

‘But we can say now it’s day and now it’s night…’

‘Only afterwards. There’s light and dark but there’s grey in between. Twilight. It doesn’t matter if we aren’t sure. It’s OK sometimes not to know. To be uncertain.’

‘I like certain.’

‘I know you do.’

‘What about me and you? Are we certain?’ He liked the word.

Whilst Neville teaches Abbott to be true to himself and find the honesty in what is spoken, Abbott provides Neville with the safety and security to be ok with the uncertainty of life; to be ok with not knowing. Michell presents the reader with the delicate and fragile moments in which one reveals oneself to another and hopes that that vulnerability will be met with compassion. Abbott gives Neville the confidence to speak and the trust in someone being there to listen. He is given the chance to share his voice and his thoughts, a truly powerful gift to give another, which Abbott, knowing the danger of being made to feel voiceless against discrimination, knows all too well.

In The Red Beach Hut language is not always vocal: Lynn Michell’s writing evokes the subtle languages of touch, of music, of being on the sea, and of being still. There are other ways, and sometimes more powerful ways, to communicate than with words.

 

Before they set off, the boy bounded up the steps and slipped his small hand into the man’s big one. Abbott let it rest there. The gesture spoke of trust and Abbott offered his acceptance. How could he betray it?

They give each other companionship, yet through this pairing Michell similarly tests the boundaries of intimacy, as Neville desperately wishes Abbott was a father-figure and Abbott must navigate the conflict of the intensity of emotions within a child’s mind. There is a tenderness to Neville – the deep and absorbing love of a child who’s found a friend with whom to learn how not to be so alone. The internal world of a child is a lonely place, a confusing place of learning the rules of life, and Abbott offers a helping hand of guidance.

One goes on and on, running on the same treadmill, never considering an alternative until forced to stop, he thought.

In each other’s company, Abbott and Neville find a moment to pause, reflect and just be, there is an easiness in which they can both stop running – Neville stops counting all the time, and Abbott stops running from himself. Out of rhythm with society, they find solace in the sea’s rhythm, the subtle shifts in the water’s moods and the constant gravitational pull they feel to be there on the seashore looking out and imagining what could be. As Neville says, “I can wish”, and perhaps wishing is all we ever can do.

The Red Beach Hut by Lynn Michell

About the publisher:

Inspired Quill is a not-for-profit publishing house which is dedicated to quality publications and providing a people-oriented platform for writers to develop their skills in writing, marketing and self-editing. They value a collaborative approach with their authors throughout the process from submission to launch, endeavouring to produce unique and powerful pieces of work.

Review by Isabelle Coy-Dibley

Isabelle Coy-Dibley is a PhD student at the University of Westminster, where her research predominantly considers inscriptions of the female body within women’s experimental writing.

What’s a Word?

What’s a Word?

Attrib. and other stories by Eley Williams: Influx Press, 2017

‘what’s a sentence, really, if not time spent alone – ’

Eley Williams’ debut short story collection delights in the deliciousness of words – their taste on the tongue, their vertiginous proliferation of meaning, their resonant archaic hum.  Attrib. artfully weaves narrative textuality with metanarrative construction processes – the writer’s process of discovering and attributing layers of meaning to interesting and unusual words, or even mundane ones, becomes part of the narrative texture of these stories.  The reader is taken on a kaleidoscopic journey through language as these uncanny stories and bizarre situations shine a colourful spotlight onto a refracted mirror of contemporary life.

The title story, Attrib., focuses on the work of a Foley artist providing incidental sound details for an audio guide to accompany a major new display of the life and work of Michelangelo.  Following her through her ideas for sound effects to accompany the Creation of Eve, which include the use of a ‘day-old, tooth-stripped #34 Char Siu takeaway rib’, we are prompted to consider the word ‘rib’ as it sits within the larger body of ‘attribute’.  Then we might consider the proliferations of meaning depending on whether we take ‘attribute’ to be a verb or a noun – is Eve to be ‘ascribed to’ Adam, or he to her?  Or should we consider Adam to be the ‘cause’ of Eve?  Each of these meanings is suggested within Dr. Johnson’s Dictionary definition of ‘To Attribute’ as the book’s epigraph.  But what if we take attribute as a noun: a quality, feature or inherent part?  Does this make Eve a quality or feature of Adam?  Williams also casually drops a reference to ‘tributary’ – with all its constituent parts that bind it to the words ‘attribute’ and ‘rib’ – so we might question whether Eve is to be seen as a ‘tributary’ of Adam, either a minor part to Adam’s major, or the one who pays him tribute.  Consistent within this narrative is the repeated noun/verb ‘BAFFLES’, suggestive of the narrator’s response to the unequal treatment of Adam and Eve by the gallery commissioners, Michelangelo, God…

Attrib.

The stories in this collection draw inspiration from a wide range of characters and situations that are both singularly unique and intimately recognisable.  The catalogue and spotter’s guide to Rosette Manufacture, the synaesthete looking for a date or the rat trained to detect landmines would seem absurd but for Williams’ deeply human insight into her characters’ worlds into which she draws us through the weft and warp of her words.  The narrator of Smote begins, ‘To kiss you should not involve such fear of imprecision’ and continues to detail the nervous uncertainty around the giving of a kiss in a public place in front of Bridget Riley’s Movement in Squares – an image which perhaps informs the bold and striking cover design of the book – cascading into a breathless six-page stream without a single full stop.  The final denoument of this story contains the arresting phrases ‘and you stark me / and I am strobe-hearted’.

‘and you stark me / and I am strobe-hearted’

These are stories that are so repeatedly re-readable – for their humour, their humanity and their sheer revelry in the textual matter of the language from which they are made: the physical, pleasurable, palpable, enigmatic and unguent words and all they carry with them.  Eley Williams’ Attrib. is a book that I recommend to writers, readers, and anyone with a love of words and an affectionate soft-spot for the humans that are bound up with them.

Click here to buy Eley Williams’ Attrib. and other stories directly from Influx Press.

About the Publisher

Influx Press is an independent publisher committed to publishing innovative and challenging fiction, poetry and non-fiction from across the UK and beyond.

Review by Sally-Shakti Willow

Sally-Shakti Willow, research assistant for the Contemporary Small Press, is a doctoral researcher in utopian poetics and experimental writing at the University of Westminster where she also teaches on the ‘Other Worlds’ module.   The Unfinished Dream, an experimental collection of words and images by Sally-Shakti Willow and Joe Evans was published by Sad Press in October 2016.  @willowwriting

2084: Science Fiction Anthology from Unsung Stories

2084: Science Fiction Anthology from Unsung Stories

Unsung Stories launch Kickstarter for new dystopian short story anthology: 2084 

New stories from Christopher Priest, David Hutchinson, Lavie Tidhar, James Smythe, Jeff Noon, Anne Charnock and more.

As the events of 2017 reveal an ever more complex relationship between people and their governments, classic dystopian literature is proving its relevance once again. But as readers turn to classics, like Nineteen Eighty-Four, writers are also looking to our future, and what may lie there.

Unsung Stories have gathered eleven leading science fiction writers who have looked ahead to 2084, as Orwell did in 1948, for a new anthology – writers such as David Hutchinson, Christopher Priest, Lavie Tidhar, James Smythe, Jeff Noon and Anne Charnock, who are already famous for their visions of the near future.

Speaking about the anthology, George Sandison, Managing Editor at Unsung Stories, said, “We knew when we first started work on the anthology that the idea was timely, but the start of 2017 has really hammered home how important writing like this is.

“Dystopian fiction gives us a space in which to explore today’s fears, and the nightmares of society. For many people the events of the last eighteen months have brought those dark futures much closer, so it’s inevitable that we turn to literature to help us understand why.

“The ideas at work in 2084 range from the familiar to the fantastic, but all are bound by a current and relevant sense of what we could lose, what’s at stake. As with Orwell’s work, decades from now, we will be looking back to our stories, to better understand today.”

2084 will be published by Unsung Stories in July 2017 and features leading writers, including Christopher Priest, David Hutchinson, Lavie Tidhar, James Smythe, Anne Charnock and Jeff Noon.

In 1948 Orwell saw a world in flux, at risk of losing liberty so recently won. In response he wrote Nineteen Eighty-Four, a prophetic book. Now, in 2017,the themes are still with us.

This anthology of new short stories draws together leading science fiction writers – famous for their visions of our near future – and asks them to look into our future, to the year 2084.

Put humanity on trial as the oceans rise. Slip over borders in a Balkanised Europe. Tread the bizarre streets of cities ruled by memes. See the world through the eyes of drones. Say goodbye to your body as humanity merges with technology.

Warnings or prophesies? The path to Paradise or destruction? Will we be proud of what we have achieved, in 2084?

Our future unfolds before us.

Click here to find out more and support 2084.

Full list of contributors:

Desirina Boskovich

Anne Charnock (Sleeping Embers of an Ordinary Mind and A Calculated Life)

Ian Hocking (Deja Vu)

Dave Hutchinson (The Fractured Europe Sequence)

Cassandra Khaw (Hammers on Bone)

Oliver Langmead (Dark Star and Metronome)

Jeff Noon (Vurt, Automated Alice, Pollen and more)

Christopher Priest (The Prestige, The Dream Archipelago, The Gradual and many more)

James Smythe (The Australia Trilogy, The Echo, The Explorer and more)

Lavie Tidhar (A Man Lies Dreaming, Osama and Central Station)

Aliya Whiteley (The Beauty and The Arrival Of Missives)

About the Publisher:

Unsung Stories publish literary and ambitious speculative fiction that defies expectation. Publishing stories from the varied worlds of genre fiction – science-fiction, fantasy, horror, and all the areas in-between.

Speak Gigantular: Hidden Cities and Lost Worlds

Speak Gigantular: Hidden Cities and Lost Worlds

Speak Gigantular by Irenosen Okojie: Jacaranda Books – Jhalak Prize Shortlist; Edge Hill University Short Story Prize Short List

If there is one thing which defines Irenosen Okijie’s treasure trove of short stories, at times both frustrating and intoxicating, it’s the madcap variety of her first lines. From the sublime (‘Sun-soaked yawns hover in Sal Island, Cape Verde’) to the ridiculous (‘She wanted her feet fucked’), they never fail to be intriguing. Like a box of exotic chocolates, some are sweet, some are sour and many contain a bitter darkness which permeates the narrative and cuts through the deceptive whimsy of Okojie’s prose. The dedication at the beginning of the book, ‘To all the misfits that dare to tilt worlds’, epitomises Okojie’s dextrous and occasionally disorientating use of language to challenge the status quo and keep her readers on their toes.

In stories such as Animal Parts and Nadine, Okojie’s prose is stunningly evocative. In this dark universe, innocence breeds violence and virginity inflames the animal sexuality of men. A woman’s mouth is ‘plump like ripe fruit and all the secrets it took with it into the crevices of winter’. A girl is hunted by men with smiles like ‘one white trap’. The same girl, traumatised by rape, has an ‘unnamed flower inside her […] a fist growing through blood’. This is the language of the fairy tale; richly symbolic and infused with the rhythms of the natural world. In many ways, it’s also where Okojie is at her strongest. Her prose, both stylistic and surreal, seems more suited to the fable than to the confines of realism.

In other stories, the many pop culture references sometimes distract from the semi-fantastical narratives. In Outtakes, Okojie’s lyrical description of a dreamy European odyssey, ‘The shrinking landscape became smaller in the side mirror, blown away by exhaust pipe breaths’, is juxtaposed sharply with the petty mundanity of the narrator: ‘I ate a sandwich, watched a couple of Family Guy episodes, sent a scathing text or two’. Rape is the dark centre of the deceptively light and sweet-toothed Fractures. However, the mysterious suitor of the main protagonist, who writes poetry ‘as though leaning into a storm’, is described in jarringly prosaic terms: ‘Wearing a sheepish expression, he stirred his cookies and cream flavoured Ben and Jerry’s ice cream.’ Although this serves to ground the reader in a particular time and place, it also punctuates the magical realism which makes Okojie’s writing so unique and otherworldly.

Speak Gigantular

In many ways Okojie’s collection of stories, so rooted in the monopoly board of streets that are instantly familiar, comprise a love letter to London. However, she resists the desire to romanticise a city which has reduced so many to haunted, lonely figures. This strange co-dependence, with all its connotations of vampiric and malevolent maternity, is described thus: ‘The city carried you like its infant child then bled you.’ Okojie excels when describing the almost pathological feelings of isolation and disconnection that often plague those living in cities. In Walk With Sleep, an imagining of the ghostly underground world those who commit suicide by tube might inhabit, one of the ‘jumpers’ experiences this sense of dislocation quite literally:

 At social gatherings he found himself holding his breath, watching and waiting for the body parts he couldn’t feel to appear at the opposite end of the room, his leg parting through the crowd towards him to claim ownership

At another point in the narrative, she describes the daily commute in almost apocalyptic terms; ‘ The sky snatched facial expressions, turning them grey…Their voices were locusts scratching his throat.’ In Why is Pepe Canary Yellow?, the chicken-suited, bank-robbing Messiah figure at the centre of the story literally uses his feelings of urban anonymity to disappear: ‘Embracing the feeling of painful invisibility, the way he had done many times in an unforgiving city, he vanished.’ In the same story, she describes how ‘the gutted consciences of the city were ghosts pressing their mouths against the keyholes.’ The sense of desolation is palpable.

At times, Okojie’s more disorientating sentences (‘The sound of pens rolling on the countertops was enough an accompaniment to the heavy breathing to jar stillborns crossing over to a separate horizon’) can be hard to unpick. Often Okojie’s simpler sentences are her most effective: ‘He was left with a father who chewed pine nuts relentlessly, barely spoke to him and looked at him as if he were nothing’ is a far more relatable concept than the idea of a Betty Boop t-shirt which spits sassy retorts to its owner (a flight of fancy in Walk With Sleep but one that typifies Okojie’s unconventional approach to reality). When it comes to narrative clarity, sometimes less is more.

However, Okojie’s more lyrical prose imbues her work with a layer of meaning which transcends the everyday. In Walk With Sleep, the main character may be long deceased and living in a strange subterranean purgatory but ‘the memory of he and Nuri carrying atlases and hopping over low fences remained, as if they were holding worlds and crossing them simultaneously.’ This beautiful description of the transient relationships between brother and sister, childhood and adulthood, life and death, ties the strings that bind this narrative together in one deft movement. That is Okojie’s greatest gift: using language to transport us to worlds both unknown and achingly familiar.

Click here to buy Irenosen Okojie’s Speak Gigantular directly from Jacaranda Books.

About the Publisher

Jacaranda Books is an independent publishing house based in London, specialising in adult fiction and non-fiction, including illustrated books, which cross linguistic, racial, gender and cultural boundaries. The authors represented by Jacaranda come from diverse cultural and ethnic backgrounds, and offer writing that shines a light on issues affecting ethnic minorities, women, and young people, and those people from the Diaspora.

Review by Katie Witcombe

Katie Witcombe is a book-fiend and (very) occasional poet. She will quite happily read anything, including the backs of cereal boxes. Also a recent convert to long-distance running.