Lovely to see this praise for The Good Son from author Kerry Hudson in The Observer newspaper yesterday;
“When I think of exceptional working-class novels from the last few years, I inevitably think of Kit de Waal’s My Name Is Leon and Paul McVeigh’s The Good Son, both skilfully written books about two very different boys’ challenges growing up in working-class environments.”
She also mentions de Waal’s Common People Anthology out next year which includes my first piece of memoir. You can head over and read the whole article here.
Winner of The Polari Prize & The McCrea Literary Award
“I devoured it in a day, but I’ve thought about it for many, many more. ”
Bailey’s Prize-winner Lisa McInerney
“A triumph of storytelling. An absolute gem.”
Writing Gender – Sexuality, Feminism and Masculinity
#BRITLITBERLIN, 25 – 27 JANUARY 2018
Registration is now open for the 33rd British Council Literature Seminar. Professor Bernardine Evaristo MBE will chair the seminar which this year will focus will be on gender diversity in contemporary UK writing.
Authors include: Juno Dawson, Kerry Hudson, Sabrina Mahfouz, Nick Makoha , Monique Roffey and me!
I hope to see some of you there.
#BritLitBerlin 2018 – in Bernardine Evaristo’s words…
“The 2018 seminar will be an exploration of some of the ways in which British writers are exploring gender and sexuality in the twenty-first century. We will look at the current conversations around gender identity that have been gaining ground in the mainstream recently, including the challenge to the social construction of gender binaries. As the spectrum and categories of transgender identities and LGBTQ+ sexualities continue to revolutionise how we define ourselves as humans, we will examine how this is being played out in literature. At the same time feminism has recently enjoyed a rebirth and gone mainstream. The post-feminist era is over and young women, in particular, are taking ownership of Fourth Wave Feminism, a shift as individualised as each proponent. We will ask how this is being addressed by writers of fiction and poetry, whose work appears to subscribe to a range of feminist ideas or ideals. We will ask how we can create literature that is complex and nuanced, while also being consciously political. As notions of masculinity and femininity are called into question, subverted, rejected and expanded, we will examine the decisions we make that informs our literature in this regard. Who and what do we write about? What fictional characters do we create, and why? What are the self-imposed limits that determine whether or how we write across gender and sexuality. And what are our responsibilities as writers when addressing these issues. Finally, what are the expectations imposed upon us by the reading public and the publishing industry to write from a perspective that correlates to our (cis) gender? (Bernardine Evaristo)”