“When I write, I’m not a woman, I’m not a Moroccan, I’m not a Muslim, I am whatever I want.… Love has no nationality,” says author Leïla Slimani. This raises the question, and a paradox for our age: Should authors from a minority background be restricted to writing novels based on their own experience?
Mainstream literature can learn a lot from YA fiction about writing characters. It should be remembered that not all characters need to be straight and white. YA provides a great, safe place for BAME and LGBT+ writers and readers alike to see themselves represented.
Call it the Trump effect: “post-truth” was named Oxford Dictionaries 2016 word of the year. It is no coincidence that the literary memoir has appeared in abundance on shelves ever since.
One of the most successful and prolific horror writers of all time, Stephen King has sold over 350 million copies of his novels since the start of his career. King’s kingdom expands further than the territories of literature, however, with a new crop of cinematic adaptations gaining worldwide praise and success.
With the novel celebrating its 150th anniversary in 2018 and the release of its sixth film adaption in 2019, Little Women has seen a recent surge in popularity. To what extent do film adaptations ‘re-brand’ the original book
On the 21st January 2020, Alex Cristofi went from the peaceful quiet life of editor and author to being branded as a “book murderer”. Cristofi had, as his crime, cut three large books in half to make them easier to carry and read.
In her poetry ‘scrapbook’, Useless Magic, Florence Welch – lead singer of beloved indie rock band Florence & the Machine – tells us she doesn’t know what makes a song a song or a poem a poem, that “they have started to bleed into each other”.
With the #MeToo movement bringing sexual violence to the forefront of public discussion, isn’t it time we consider the impact of the movement on literature?
In the era of Amazon, who can resist a text “recommended for you”? But with each *click*, metadata expands and a cycle of the same books fill our shelves. However, long before Kamila Shamsie’s female-forward challenge to publishers, Ann Morgan uncovered yet another void in our literary marketplace.
Literary tourism is booming. Between 2016-17, 1 in 4 Brits went beyond the pages of their favourite books at one of the UK’s literary hotspots, whilst over half of us are actively interested in exploring one.