Love Note – Beach Books

I love reading but, I am going to confess, I am pretty bad at investing in and dedicating time to contemporary literature. I have spent many years covering English and Russian classics from the nineteenth century, being swept away by Shakespeare and his (mostly male) contemporaries and reading novels, poetry and plays from the early twentieth century. Aside from the latest releases from Naomi Klein, Arandhati Roy and Margaret Atwood, I have tended to swerve away from contemporary literature for a long time and I don’t think this is particularly wise. I think reading amazing historical works of literature is always going to be important; but I don’t think this should be completely at the expense of what people are producing and writing right now.

Therefore, to accompany me on my beachy holiday (3 days and counting!) these are the contemporary novels I am packing with me:

Circe

Circe – Madeline Miller, 2018

Why I’m excited about it:

This is my get out of jail free card: Circe is a re-telling of the Greek myth of Circe, one of the most interesting and famous characters in Homer’s Odyssey. So yes, even though the subject matter here is veritably ancient, it promises to be a contemporary, new perspective of a controversial character. If you’re not in the know, in Homer’s work she turns Odysseus’s men into pigs, seduces Odysseus, puts him and his men up for a year and loses some of her power. I studied Classical Civilizations at A Level where we read the Odyssey in its entirety, and I was always healthily sceptical of Odysseus’s heroic credentials (I am more of an Aeneas fan, but to each their own). In particular, I think the way he gets off with women left right and centre whilst his poor wife Penelope stayed at home for twenty years fighting off suitors is pretty questionable (read Margaret Atwood’s The Penelopiad for more). I am excited to see where Miller takes the Circe character and her story from Homer’s narrative: the whole single, powerful woman must be a witch thing needs a serious rethink.

Daisy Jones

Daisy Jones and the Six – Taylor Jenkins Reid, 2019

Why I’m excited about it:

Reese Witherspoon is a pretty good weather vane for anything pop culture-related (see her performance and production credits for Legally Blonde, Big Little Lies, Gone Girl and Wild). Now, she is set be an executive producer on a TV adaptation of this book, only published in March 2019, which she claimed to have read in one day. Additionally, the first time I actually heard about Daisy Jones and the Six was on Claudia Winkelman’s Sunday evening show on Radio 2, where she absolutely gushed over it for how immersive and compelling it apparently is. My interest: officially piqued. The novel purposes to follow the lives and loves of a fictional seventies rock band, which screams of Fleetwood Mac levels of intrigue. If there is any time to pop on some rose-tinted glasses and have a wallow in seventies rock and roll, it’s on a warm beach.

Normal People

Normal People – Sally Rooney, 2018

Why I’m excited about it:

This book was a bit of a sensation last year and I am curious about this bandwagon. The only bits of it I have seen have come from Zoe Kazan’s Twitter and apparently there are no speech marks. I find this disconcerting but I am willing to embrace the uncomfortable. I once took a crap version of James Joyce’s Ulysses on a Greek island holiday and failed to sufficiently commit to the challenge due to sea, sun and sand-induced lethargy. I am in no way comparing Normal People to Ulysses, but I am thinking it may, potentially, have the right amount of formal, linguistic and emotional difficulty to suit the serious lazing about I have planned. We’ll see what happens. I hear that Normal People is based in Ireland and that it follows a relationship between Connell and Marianne, both from the same rural town but from very different worlds. The novel promises a sweeping and refreshing love story about two people who can’t seem to escape each other or themselves. This excites me.

Americanah

Americanah – Chimamanda Ngozi Adichie, 2013

Why I’m excited about it:

Firstly, the cover of this book is beautiful and I like staring at it. Secondly, Adichie is a supremely articulate and intelligent woman. I loved her TED talk about the importance of feminism, the importance of teaching boys about gender equality and deconstructing toxic masculine stereotypes, and I encourage everyone to watch it. You can do so here. Even though this talk has been seen over 5 million times, Adichie is primarily a very successful writer of fiction. I have never read any of her novels or short stories before, and Americanah looks like a great place to start. The novel follows a Nigerian couple separated by war and dictatorship in their home country, who are forced to build new lives separately in the USA and UK. The novel tracks their separation, new experiences abroad, and their reunion. The novel explores the brilliance and pitfalls of globalization including, most specifically, the burden and barriers of race that Africans experience in the West, something these characters in particular don’t feel keenly in Nigeria. Americanah feels like it’s going to be an important, challenging read and I am ready for it.

‘Tender is the Gelignite’ eBook launch

Merry fucking Christmas bods. My novel Tender is the Gelignite is now available to buy as an eBook.instagram post_ebookw

Get your copy here >

First and foremost, thank you to all those who have supported me so far by purchasing the physical edition of the book. I received lots of photos of Tender is the Gelignite on people’s bookshelves and breaking free from Amazon packaging. The whole situation literally made my heart sing. Thanks as well to those who have written reviews on Amazon, I really appreciate all your readings and perspectives. If you’d like to add one and haven’t already, please feel free to do so.

As a special treat, all those who have a physical copy of the book should now be able to download the electronic Kindle version completely free. This is true for anyone who plans to buy the physical book in future; you’ll also get the eBook for free.

Nothing screams Christmas like a foul-mouthed down-trodden young woman setting her workplace on fire. For the rest of December, the eBook of Tender is the Gelignite will be available for just £1.99, after which time it will go up to £3.50.

Publishing the novel as an eBook was pretty much a no-brainer because I want Tender is the Gelignite to be as widely available and accessible as possible. There were also a few other things that we needed to consider and which I want to share with you:

1) Making physical books is expensive, and Amazon likes to take a lot of credit for it (by way of $$$). Buying the eBook is an equally valid way to support me, your new favourite author, for the price of a coffee.

2) The eBook can be lent to a pal through Amazon for up to 14 days – share the joy/pain of reading my novel with others.

3) Whilst the book is a pretty thing, having the eBook available means you don’t have to lug your copy around everywhere. If you do not have a Kindle, you can still download the digital version of Tender is the Gelignite from Amazon’s Kindle Store and read it on a device that you do have. Amazon has Kindle reading applications available for Windows, Mac, iPod Touch, iPad, iPhone, Android, Windows Phone 7 and BlackBerry.

Thanks again for all your amazing support.

Download your copy of Tender is the Gelignite here >

 

‘Tender is the Gelignite’ – 0.5 preview

Introducing the first chapter of Tender is the Gelignite

0.5

Definitely not the best idea to stare at the rain when you’re crossing the road.

First, no matter how calm and relaxed and dreamy you feel, your mug will form a snivelling sneer. Second, it’s likely that a pretty-car will knock your block off. Unintentionally for once.

A black shiny pretty-car screeches to a halt right up by my hip and I blink and jump back onto the pavement. It careers off again straight away, with a tuneful ‘fucking stupid, miserable, crazy, fat, dick-flapped cu-…’ stringing out of the driver’s window. I wrinkle my conk. The watchtower looms over the dim and dingy rows of red warehouses, prickly coils of barbed wire lacing over obtuse bleacher roofs.

In the UK there’s what I call UMAY, laws where you literally may pick whatever Uniform you like. Any clothes any style any arrangement. Which is great. Freedom and choice and all that. I like knowing who and what I am. Just so long as you stick to it afterwards mind, that’s very important.

Me

Feet: Laced-up bovver boots.

Bod: Black jumpsuit. Jersey.

Coat: Woollen, blood-coloured.

Choker: Scarf, like a blanket. Black, white, yellow.

I crunch my way through the downpour, the chopped fragments of glass, grit and sodden cardboard, squishing, mingling and munching in the thick soles of my bovvers, a firm barrier between my digits and the grindy, grimy slop. Careful: scantily scattered used condoms are a slippery risk, always best to avoid splurting skins.

Completely out of control Conscript.

This creeping crisis always begins when I first start walking to my Employment. At the beginning, I step into the hustling muscling city Centre-For-Work. Buildings are tall, sleek and clean. Dull sky is reflected beautifully, pavements are fresh and clear, streets are pedestrianised for bods, odds, sods, Conscripts, capitalisers, Employers and bods. Not many Poor Ones but they constantly hang about unseen. Clacking from the soles of hard-heeled shoes clash with snaps and spits coming from the Autogrammers, their portable ze-cams and ze-phones capturing the commute. Autogrammers aren’t just some nuisance bods that you need to dodge with their flashes and their cracks; they fill the city Centre-For-Work, providing photographic evidentials of everything and every bod all the ploughing time. That’s why you’d better stick to your all-important Uniform, especially during the day. Otherwise you’ll be Unrecognised and, well, that’s always a mess waiting to mong.

Walking through the city Centre-For-Work is void and impersonal; bods autogramming, staring at hologrammed ads or news stories on the roof tops or plodding along in a misshapen and miserable manner on their way to some office box or other. But there’s some comfort in seeing other like-feeling shittos living out the communal curse, no matter how vapid and sophisticatedly superficial the surroundings.

But crossing the ornate nineteenth century old old cold bridge into Strangeways, like I do and did every sodding day, you want to see as few bods as possible. You can never trust anybod driving them BMW, Jaguar or Mercedes Benz around a god-forsaken No Bod’s Land shit-hole dump like where I work. But you see them there a lot. What has a nice pretty-car got to do with a place so crap? A place so measly, oozing with muck, sweating like a foul ponging cheese or cold sore on the way out? Them BMW, Jaguar and Mercedes Benz form a clean, cool contrast to such a mildewed patch: the rotting decaying roads and alleys; prozzes clopping about in puffer coats, flashing over-worn underwear and grotesque kitten heels as they perch on corners or fumble after these luxury-wagons, these fill-your-bovvers cock-on-wheels succulently-leather-arsed motor machines. Drug dealers dally at an angle to the prison, the tell-tale trainers lobbed over the disused ze-phone wire, hanging in a still brooding manner over the grids of warehouses.

I hate to see those cars. I hate being mistaken for a prozz. They crawl up alongside you. Even though you can’t see the toads inside you can feel the goggly woggly globes scanning your bod like you’re a slab of meat hanging in a blood house. Except they want to fuck you instead of eat you. Same thing really though, no? Tell me I’m wrong. I fantasise everyday about smashing them up. In my head, I take one of the slippery slimy waste bricks that has been lying chucked about round here since who knows when and pummel it into the pretty-car. The windscreen doesn’t stand a chance against my bricky blows, with Odious Toadious inside bricking his denim dick-casket as glass shards are cast in all the directions. He screams and shouts ‘you crazy betch’ and I shriek with delight at his panic, taking my big booted bovver foot to the hood and kick kick kick.

TAKE THAT YOU FILTHY FAT FUCK

No pretty-cars lurking today. I crunch on unwatched.

I pass the same bod every day. I think he must actually live in Strangeways or something because he’s always hurrying down the hill, every fucking day. He’s Asian, with a kind pleasant mug. We glance at each other every morning. I get the feeling he’s a nice bloke. You can tell who the nice ones are around here. The ones who keep their heads down and plough on; not the serial strutters, the swaggering shits who are proud to be a big-shot in a piss-pot like this.

Welcome to the hub of the UK’s fashion industry, the old Hell by wholesale.

*

Final Coer JPEG

Tender is the Gelignite is now available to buy from Amazon. Get your copy here >

Copyright © Elizabeth Harper 2017

‘Tender is the Gelignite’ – personal thanks

Tender is the Gelignite is now available to buy from Amazon. Get your copy here >

Final Coer JPEG

I wanted to write something separate to a few very special people who helped me to bring Tender is the Gelignite about:

Thanks to Annie, Char and Fiona who read early terrible drafts and still thought there was something to work with. The encouragement you gave me when I mentioned I had a mere idea for a novel was mind-blowing.

Thanks to Emily and Izzy . You are so inspiring and wonderful and I have always felt so lucky to have you as friends.

Thanks to Jess and Hayley for being wonderful blads. I don’t get to see you guys enough but when we do reunite, it’s utter magic. Laura, you still haven’t got rid of me yet, for which I am thankful. Also to Katie, Cate and Helena who I can’t do without.

Thank you Jack Sullivan for all the times, one recent favourite being when we got pissed in that Sam Smith’s in the West End, chatted for about 9 hours and then terrorised the greeting card department at Liberty’s London. That was so much fun.

Thanks Zoe for allowing me to air my thoughts about one particular passage that I really wanted to get right. Our discussion really helped.

Thanks to my former colleagues at ACN Europe UK and Rotterdam: Suzanne, Steve, Liz, Teun and Kim for giving a chatty randomer the opportunity to write a book whilst being able to afford rent and bills and things like that. Looking back, I must have sounded totally insane and you really didn’t have to give me a job, but you did and I am very, very grateful for that. I learnt so much with you guys and also developed a stroopwaffel addiction. Thank you.

Also thanks to Daisy, Krista, Jane, Joe/Josephine, Graciela, Agnes, Amy, Nat, Hannah, Benedicte and Oksana for the encouragement, the laughs, the food and for helping me to realise that I could find life-long friends in a totally unexpected place. Thanks also to the Crazy Cows for your encouragement and kindness… they know who they are and I love them all.

Thanks to Mollie, Joe, Claire, Sue, Jeb, Chris, Jo and all the grandparents for being so kind and supportive.

Thanks to my parents. To my Dad for being super chill and encouraging and my Mum for being terrified at what I was doing. You guys sure know how to keep a child balanced.

To Grandma: I dedicated this book to you but I don’t think you should take it to your church group.

Thank you Nicole. There really are no words. You are the best person on the planet. And also Mark 2, you really are a very cool cat.

Mark. You helped with the cover design, the formatting, the PLAN, the research into distribution, pretty much everything that requires some enhanced brain cells. I literally couldn’t have done this without you. But also, I couldn’t have done this without you.

Get your copy of Tender is the Gelignite here >

‘Tender is the Gelignite’ – publication and notes

I am delighted and terrified to share that my novel, Tender is the Gelignite, is now available to buy from Amazon. It is available worldwide, so no matter where you are (hey former Dutch colleagues!) it will be shipped to you.

You can get your copy here >

Final Coer JPEG

 

‘A spark goes off in my tum and my limbs ring and zing with nervous energy, like they do when you’ve just had a fucking fantastic idea’.

A young woman in a shiny city // post-industrial wasteland called Manchester decides to set her workplace on fire.

 Pursued by the militarised and mechanised LAW FORCE, she encounters a cast of weird, wonderful and wasted people and realises that survival may not be as desirable as she first thought.

Tender is the Gelignite plunges us into a brutal potential UK that is both darkly humorous and eerily recognisable.

This is my first novel and I decided to publish it myself using Amazon’s CreateSpace service, with the unparalleled help of Mark Williams. Over the past couple of years, I have been juggling writing, editing and proofing with a full time job, which has been both exciting and exhausting.  Self-publishing gave us many different freedoms with the book, in particular regarding the font, formatting, cover art and cover design. Going through the publishing process independently has also been challenging to say the least; so many issues were thrown up that might have (and did) go extremely wrong. Very late on the night before publishing, I had a phone call with a nice man at CreateSpace in the USA to resolve a huge accidental mess I made in the final processing.  I was on the phone to CreateSpace again first thing the next morning to follow-up on the said mess. In spite of this, I am grateful that I have had the opportunity to make my own decisions, deal with my own fuck-ups and, most importantly, I haven’t had to sell out on what I am interested in writing about or the way in which I chose to write, for fear of not being considered ‘commercially viable’.

I have come to learn that the primary motivation driving publishing today is a guarantee that money will be made; for the publisher, for the manufacturer, for the distributor, for agents, for everyone involved, with a little bit left over for the writer. I think it is symptomatic of our current cultural moment where risks, challenging ideas and small but ambitious projects are increasingly curtailed to protect profits. I wrote two years ago about Disney consuming itself in a bid to recuperate billions of dollars lost on box office flops (see here) and I think this safe money-making agenda within the arts has become even more paranoid in the meantime. Experimental work is unreported and glossed over with an endless series of cash cow re-makes, sequels, prequels, covers and spin-offs by power players in the worlds of film, music, literature and fashion.  At a time when world politics is in such a dire state, it baffles me that as a society, we cosy into complacency: what we know, what reinforces our ideologies and what makes us feel safe. It is this attitude coupled with the desire to preserve wealth that has helped to fan the hatred, violence and destruction that is destroying people and planet. Effectively, the cultural machine sees things wrong with the world and chooses not to use art to reflect, express and critique the horror that we continue to unleash on each other and on the environment.

I have attempted to write about the world we live in, in a way that some may find uncomfortable or challenging. It’ll be up to you to decide how successful I have been and whether Tender is the Gelignite is any good or not.[1] I am aware that this book may not be to the high standard of so many great writers I have spent years of my life reading; but in this crucial time, when I see cultural industries doing little to challenge so many devastating orthodoxies, I’ve tried to do something with my bit of a book. It has been both a joy and a slog to bring it to this point and I now happily send it off out of my sight and out of my mind. I’ve got a new novel-thing-project-situation that I’m going to start working on and I’m thanking my melons that I am now free to explore and inscribe something else.

Me with book

Get your copy of Tender is the Gelignite here >

[1] Please find here a link to Roland Barthes’s essay ‘The Death of the Author’ because it sums up everything I feel about the process of writing and reading. You will, however, have to forgive Roland’s excessive reference to authors and readers as ‘he’; a lot of old and current creative minds are tragically part and parcel of patriarchy.

http://artsites.ucsc.edu/faculty/Gustafson/FILM%20162.W10/readings/barthes.death.pdf