Category Archives: Publishing our book

Rallying the Older Women Writers

Something rather wonderful happened last week. It was Thursday, Leap Year Day. As usual I had tweeted (yes on X) about The Sleeping Beauty which was the post featured before this one. Sometimes I post a second tweet, hoping it is topical and will bring readers to the articles in the archive of this blog. I looked back through my archives, found what was on the blog on the previous Leap Year Day, in 2020. It was a few weeks before the lockdowns began. We were beginning to get very worried about Covid-19. But my post had a different theme.

It was called 

Let’s have more older women writers

You can read the article here.

It was itself referring to an earlier post from 2016. In 2020 I continued the theme of discrimination against older women writers began my comments with a little provocation.

Martin Amis, in his provocative way, made the following comment about older female writers: You can see them disintegrate before your eyes as they move past 70.

I used this quotation in my tweet.

The Response

I’ve got a modest following on my blog and on twitter, so I was quite unprepared for what happened. It was unprecedented. Within 24 hours it had been liked 44 times, retweeted 16 times and I had gained 21 new twitter followers. In addition older women writers had added their comments. In that same time period, ten writers provided information about when they published their first book (all older than 57), many were on their second book and more had published several. It’s never too late, said one; I’m 65 and still going, said another; and another reported that she was 64 and on her 9th book. A publisher reported that they were about to publish a novel by an older woman and took no account of age.

I was pleased that one woman in her 50s said that she had been doubting her capacity to write but was encouraged by the Bookword post. Referring to the picture another commented that I would read whatever she’s writing. Martin Amis was correctly outed as the writer of the statement about women disintegrating after 70.

I have never had such a response to a tweet, and the readership of the 2020 Leap Year post immediately exceeded 100 on that day.

So why this response?

In 2020 the article I placed on Bookword blog did not have this response, so I have been wondering why the tweet and the blog post appealed to so many people in 2024. I’d be glad of your thoughts on this.

I’ve been tweeting for more than 10 years, and I have noticed that some of my tweets get a great deal more traction than others. These tend to be the ones that ask a question that people want to answer. I think the provocation about women over 70 was enough to get some people to check it out.

The 2020 post (Let’s have more older women writers) did not reach many people when it was first published. Some things might have changed since then. For example, four more years’ worth of women have entered the demographic of ‘older women’. Each new cohort are better educated and possibly have a feistier attitude, are more ready to stand up for themselves than their older colleagues. And those who responded to the tweet with their own experiences were all 65 years old or younger. 

Perhaps there are more older women writing and publishing and perhaps creating a market for fiction by older women. Older women have more money, more disposable income and form a growing market for books (and films and tv series) about older women. Some of the writers who responded with their published record will be including older women characters.

Women are living longer. Well, they were, up to 2020. I’m not sure whether this group is still enjoying increased longevity. Sadly, the neglect of the NHS and the cost of living and other factors in the last four years are causing the death rate to rise. Many of the women who are living longer continue to write for longer too.

It is interesting that the possibility of double discrimination – ageism combined sexism – has provoked this affirming response. What do you think?

Silly old Martin Amis, indeed.

On the related theme of older women characters in fiction, remember that this blog has 70 posts in the series Older Women in Fiction. You can find the full list here. It also includes recommendation from readers. Please feel free to add your suggestions. 

And you might be interested in a book for which I was a co-author: The New Age of Ageing: how society needs to change, by Caroline Lodge, Eileen Carnell and Marianne Coleman, published by Policy Press in 2016. You can read about it here.

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Summer reading over ten years

I began blogging just over ten years ago. Recent Twitter lists of summer reading encouraged me to look back over those years and see what I was blogging on 7th July in those years. Here are just seven posts from the 787 that I have produced over that time. Some themes emerge from those years: the older women in fiction series, translations, thematic posts, and the established fiction which I preferred to chasing the new. I have included links in this piece to all the posts mentioned. Happy summer reading!

Onward, Old Legs (2013)

Several novels featuring older women had already appeared on my blog by July 2013: Stone Angel by the Canadian writer Margaret Laurence and Mrs Palfrey at the Claremont by Elizabeth Taylor, and I listed more than thirty others. Many of them I have now read, and some have been dropped from the list for various reasons. The full list for the series can be found at this link

Ways with Words (2014)

2014 was the year that Retiring with Attitude was published. I wrote it with my friend and colleague Eileen Carnell. We were asked to do a presentation on our book at the Ways With Words festival at Dartington that year. We have written one book since then, The New Age of Ageing with our colleague and friend Marianne Coleman. Our writing careers have slowed down since then!

Island Novels (2016)

Two years later I wrote a post on the theme of novels set on islands. It was a rich subject and I referred to Night Waking by Sarah Moss, To the Lighthouse by Virginia Woolf, The Summer Book by Tove Jansson, and four other novels. I enjoy putting together themed posts.

To The North by Elizabeth Bowen (2019)

To the North was the seventh of Elizabeth Bowen’s ten novels reviewed on Bookword blog. In 2019 I was in a phase of reading novels that had been published for some time. It’s something I have continued with, and Elizabeth Bowen is a writer for whom I have great admiration. On a train travelling north from Italy the recently widowed Cecelia meets Markie, and is nearly taken in by him, but he transfers his attentions to her sister-in-law …

The Magic Toyshop by Angela Carter (2020)

For several years I had followed a theme, reporting on a book every decade. In 2020 I picked publications by Virago, and in July this was the choice from the 1960s. I wrote,

This fantastic tale, which ends in incest and a conflagration and the possible death of the two younger children, is not a simple contrast between goodness and wickedness, youth and age, or even wicked masculinity vs the goodness of femininity. It has complexity in its themes of love and abuse, adult and adolescent sexuality, play and life, reality and magic.

Summerwater by Sarah Moss (2021)

I read most of this short novel when I was trapped on Pewsey station, following a walk with a friend. There were no trains, no taxis and no room at the inn. The novel, like the others by Sarah Moss that I have reviewed, mitigated the dire circumstances. A train eventually arrived.

[Summerwater] is bleak, and harsh and almost apocryphal. It captures the current generally depressed mood and seems to be a comment on the modern world.

The Art of Losing by Alice Zeniter (2022)

This novel, translated from the French by Frank Wynne, was first published in 2017. It follows one family through three generations, beginning in Algeria just after the Second World War and ending in the banlieues in the present day. I learned a great deal from this novel and thought about it again when France erupted earlier this summer.

And the others?

BTW in 2015 it was A Spool of Blue Thread by Anne Tyler, and in 2017 a themed post about novelists called Elizabeth. In 2018 I posted my thoughts about Missing by Alison Moore.

At the moment I am reading about the last months of the German High Seas Fleet (for a thing), and Between the Acts by Virginia Woolf (for another thing), essays in Space Crone by Ursula le Guin, and enjoying the catalogue of the exhibition at Dulwich Picture Gallery of paintings by Berthe Morisot, which I saw last weekend.  

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Filed under Books, Elizabeth Bowen, Elizabeth Taylor's novels, Older women in fiction, Publishing our book, Reading, Reviews, translation, Women in Translation, Writing

Writing in the time of Covid

Many people have reported finding it challenging to write in the time of the pandemic. I know this from my writing group, from twitter and from my own experience. Why this has been so is not entirely clear to me, but I have an idea about it.

Here are some writing achievements that I have managed during the pandemic.

136 posts on Bookword Blog

I have blogged consistently every 5 days (except over Christmas in 2021). On 20th March 2020 I blogged about sleep in fiction and136 posts later I am blogging about writing. Ten days ago, I blogged about books that help me when I can’t sleep. I suspect that not sleeping and not writing during the pandemic are connected.

So, I have been reading a great deal in order to provide material for these posts. I checked on my reading log and find that I have read 150 books since March 25th 2020. And yes, I do keep records of all this.

Co-editing More Gallimaufry 

One of my two greatest writing-related achievement has been as a member of the team co-editing our writing group’s anthology, More Gallimaufry. Technically I am the publisher of this fine volume. Some of the work involved was tedious, and some quite tricky, but overall it was an honour to be involved in the production of such a fine volume. Twenty-one writers from our group provided poems, short stories and memoirs for our project. Three of our writers, who are also visual artists, provided the cover and the internal illustrations. It has been selling well since I posted about it in mid-November. 

Writing a novel with my grandson

In December my grandson, aged 10, tested positive for Covid. We live in the same village so normally if he is ill and off school I am involved in his care. But he had to isolate, so I had to find some other ways of helping him endure the ten days in which he was restricted.

My daughter sent me a photograph of Josh with our dog. The dog is a beautiful cocker spaniel called Lupin and is devoted to all family members. The photo was taken on the first day of Josh’s isolation, and they both look a bit fed up with being indoors. The picture of the two of them sparked an idea. I found an empty notebook, printed the picture, glued it onto the cover and wrote chapter one of a story about a glum boy and his dog who had super-powers. I invited Josh to write the next section.

A couple of days later Josh rang me, read the continuation of the story that he had written, and which he had printed out and stuck into our book. Soon after I collected the notebook and completed chapter 3, and so it went on until Josh was freed from isolation and we had seven chapters in our book. Two chapters were written together during the Christmas holidays. After a walk with the dog during which we discussed some ideas, we went back to my house and completed the story. We gave it a title: Josh and Lupin’s Amazing Adventure. We made the rest of the family listen to our reading.

For me, this was the second of the two productive writing activities since the pandemic began. I especially enjoyed the creativity of the final two sessions when Josh and I wrote together. We bounced ideas of each other – a pitchfork, baddies who couldn’t swim, a host of dogs. Then we developed them and found amusing ways to weave them into our story. And, of course, we left the ending open for more adventures, which will be necessary if I have to isolate. [Sometimes I say when I have to isolate.]

LATE Update: Josh has Covid again, so it is possible there will be further adventures.

Writing in a time of Covid

Once again, I notice that writing together, collaborative projects are often the most enjoyable, and the most creative. These have been restricted as we have endured social distances over the last 22 months.

From this observation I learn that as we reclaim more flexibility, more opportunities, I can pursue more collaborative possibilities to continue to develop as a writer. 

I may be able to finish that short story about Phyllis with a bit of help. And perhaps even get someone to help me retrieve that novel from its drawer. And I haven’t mentioned the poems, a small number of poems, that I have written during this time. Perhaps there is more to explore there too? 

Related posts

More Gallimaufry: another achievement for the writing group (November 2021)

What I did during Lockdown – my Covid diary (June 2020)

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Celebrating six books I read in 2021

You don’t need reminding that 2021 was not a great year, but ever the Pollyanna I can pick out many great books that I read in the last 12 months. I offer you five posts about them, with a bonus sixth. When choosing these I noticed a bit of a historical theme. Enjoy!

One Fine Day by Mollie Panter Downes

This wonderful novel captures one glorious summer’s day in 1946, in southern England. The ‘long nightmare’ of the Second World War is over but everything is changed. This had direct relevance when I read and blogged about it in July; we were seeing the relaxation of restrictions and worry about the Covid pandemic. 

Laura and her family have been through separation, and now must manage the social and economic changes brought by the war to their world. During a summer’s afternoon she climbs up Barrow Down and finds hope and peace in the landscape below.

One Fine Day by Mollie Panter-Downes, first published in 1947, reissued as a Virago Modern Classic in 1985. 179pp

Red Ellen – The Novels of Ellen Wilkinson

Ellen Wilkinson has long been a hero of mine. She was one of the first female Labour MPs, and had a reputation as a ‘firebrand’, probably because of her red hair. Most memorably, she was MP for Jarrow at the time of the famous hunger march (1936). You can find photographs of her leading it: a small figure in comparison to other marchers. 

I enjoyed reading her two novels. Clash (1932) is set during the General Strike of 1926; it captures the heady excitement and drama of political activism.

The Division Bell Mystery is a whodunnit set in the Palace of Westminster, written while she was temporarily out of parliament.

Clash by Ellen Wilkinson, published in 1932. It was reissued in the Virago Modern Classics series in 1989. 309pp

The Division Bell Mystery by Ellen Wilkinson, first published in 1932 and reissued in 2018 in the British Library Crime Classics series. 254pp

You can find the post about Ellen Wilkinson’s novels here.

The Shadow King by Maaza Mengiste

I loved reading this book for all the reasons that fiction is so powerful: it takes you to new places and shows you the world in a new light. I have been to Ethiopia, where this novel is set. The history of the war against the invading Italians is not fiction. But Maaza Mengiste has fictionalised the events, revealing some of the brutality of the failed Italian colonial exercise.

It’s vivid in its retelling of the unequal struggle. The main character is Hirut, an ignorant young girl at the start of the novel, but a proud bodyguard of the Shadow King during the struggle. And this novel is very poignant given the troubles that erupted in Tigray province in November 2020 and have worsened this year.

The Shadow King by Maaza Mengiste published in 2019 by Canongate. 429pp. Shortlisted for 2020 Booker Prize

Beloved by Toni Morrison

I had read this novel before, but in the light of Black Lives Matter and all that has been happening recently in the United States relevant to racism, and in the UK, it seemed to be the right time to reread it. I was struck by the strength of this book in demonstrating the reverberations of evil that spread out from the enslavement of Africans and the trading of enslaved people across the Atlantic. Toni Morrison describes the book as inviting the reader ‘to pitch a tent in a cemetery inhabited by highly vocal ghosts’. 

Beloved by Toni Morrison, first published in 1987. I used the Vintage edition published in 2010. 324pp

Refugee Tales IV Edited by David Herd & Anna Pincus

As the title suggests, this is the 4th book in a series. I have read and reviewed them all. I have walked with Refugee Tales. I found myself reading this collection with a mounting sense of outrage. ‘How can we still be here, after 70 years?’ I asked on Bookword Blog. In particular how can we still be detaining people seeking refuge in our country, and detaining them indefinitely. I remain outraged. The stories told in Refugee Tales are not easy and remind us of the human tragedies that are produced by world events.

I was grateful to the Gatwick Detainees Welfare Group Autumn newsletter for reprinting my post. Please do not be silent on this issue.

Refugee Tales IV Edited by David Herd & Anna Pincus published in 2021, by Comma Press. 161pp

More Gallimaufry by the Totnes Library Writers Group

This is the bonus book I mentioned at the top of this piece. For me, much of 2021 has been spent in co-editing a collection of writing by my local writing group. We emerged from lockdowns with a determination to produce our second collection of writing. We have done it and the book is an object of pride, especially to the 21 contributors. I wrote about editing it in the post called More Gallimaufry: another achievement for the writing group

It would take a great deal to limit my reading, whatever the pandemic lands us with. I am looking forward to more in 2022: more Elizabeth Strout, more women in translation, more older women, and more set in the 1940s. I might even get to more writing next year.

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A Bookish Christmas post on Bookword

It happens every year: just before the last weekend in November hard hats and hi-viz jackets appear at the war memorial. They have a cherry picker with them, and they hoist a tree upright, and place a star on top and then adorn it with lights. Christmas in our village starts here. Tomorrow will be the annual lantern parade, and off we go.

My list of bookish Christmas present

I love books and if I can please more than one person on my list with bookish presents I am very happy. I also like to benefit others, bookish charities and so forth, at the same time. Here is this year’s list.

Book Aid International and Reverse Book Tokens

This an organisation that deserves support for the excellent work it does. Based on the principle that BOOKS CHANGE LIVES, Book Aid International helps people overseas, and because our government has slashed the international aid budget, this kind of activity is needed all the more. They send new books to school and university libraries, to support young people and health professionals. They donate books to refugee camps, and other places where they are much needed which may have difficulty providing books. 

For example, the University of Mosul was destroyed by ISIS, but Book Aid International committed to restoring the library. To date, it has provided 50,000 new books to replace those that were destroyed. 

You can support Book Aid International by making a donation, and/or by buying a ‘reverse book token’. These special Book Tokens are a great idea for presents to support Book Aid International. For only £6 Book Aid International can send out three books. So, a Reverse Book Token  makes an excellent present. You can also join the Reverse Book Club to send a regular donation to the charity. A reader will thank you.

Book Trust Christmas Appeal

Some of us want to support those working to get all children to become readers here in the UK. Book Trust exists to get children reading. For a donation of £10 the Book Trust will send a book to a vulnerable child for Christmas. They support reading by children all year round and make recommendations for what to read next.

As a result of the Christmas appeal each vulnerable child will receive one of six hardback books, appropriate to their age. This year’s books include:

  • Tales from Acorn Wood,
  • Paddington Treasury,
  • My Encyclopedia of Very Important Adventures,
  • Weird but True 2022,
  • The Mysteries of the Universe,
  • Guinness World Records 2022

Each child will also receive a special letter and a festive poster and bookmark designed and written by author-illustrator Ed Vere.

Prison Reading Groups

This year I have also supported Prison Reading Groups. This charity aims to support reading and reading groups in prison and the charity runs programmes to support prisoners reading with their families. You can make a donation here.

Book tokens

And if you don’t know or are not sure whether Aunty Ethel will like the latest Sarah Rooney or a replacement for that classic novel you borrowed ten years ago, you can always give her a book token. Children in other families often grow up faster than one can believe, and you lose track of what they might like. Again, a book token can be the answer.

Books as Presents

The people on my Christmas list are well provided for: they will each get a copy of the latest collection of writing from my writers group: More Gallimaufry

Books from Bookshops

And for those who like to encourage independent bookshops please go there to get your bookish gifts. They need your help. Many of them deliver. And to avoid lining the pockets of the uber rich on-line delivery firms you can use good on-line alternatives. I have been using bookshop.org which supports local independent booksellers. We may not have much political power, but we do have some economic power, and so spending our money on important things in the good places is something we can do.

Happy Christmas and good reading to one and all!Bookish Christmas post

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More Gallimaufry: another achievement for the writing group

This week we celebrate the publication of More Gallimaufry by presenting a copy to Totnes Library. ‘We’ are the Totnes Library Writers Group. More Gallimaufry is the second published collection of our writing. Everything, even the editing, was collaborative. I asked my fellow editors to say something about their experiences 

Carole Ellis said

Delight came in many forms. There was the huge privilege of reading the work of so many talented writers. So much talent within our group! Being able to discuss the work and consider with them even a tiny part of their final contribution – the placing of a comma – was a true delight. There was also delight and privilege in working with my co-editors. We had a winning blend of determination and humour and it was great to discover how two people I really respect work. There was also the immense satisfaction of seeing an idea – “what about doing another book?” –  become an object of such beauty. Nothing beats holding your own book – fresh off the press. Such a magical moment.

Learning came with the realisation that hard choices had to be made. The whole Covid-19 outbreak gave us time to focus and decide what we wanted – whether we wanted to continue and that really honed our determination. I learned that there comes a point at which one has to say ‘enough’. But that point is moveable! Even with a sales team nipping at your ankles, changes may still be needed in pursuit of perfection but at the same time perfection is not possible. There will always be that one mistake that slips through – and you have to accept that. That’s a learning curve.

From Pat Fletcher

Editing Collaboration

The invitation to be part of the editing team was an open one to the whole group. To be honest, part of me thought the invitation wasn’t for me at all, but somewhere, entwined within was the allure of promise and possibility – and I’m a sucker for both!

The whole process was much more than I could have possibly imagined. The scariest bit though was the thought of editing other writers’ work. There’s me with no editing experience, other than my own work, reviewing, assessing and discussing their art! As it turned out, they were gorgeous and for the most part appreciated someone else taking time over their work. It was through this I was encouraged to contribute some work of my own. I love this group.

Covid hit during the early stages of the process, but we carried on writing. As keeper of the content, I gained early insight into the variety and quality of the work. I was well-impressed. Over six months in, and we decided to meet to assess where we were with it all and where to go from there. That we were going to continue became a no-brainer. The getting together in person sparked something else: requests for more content became more focussed. All systems were go and what had been eleven contributors soon rose to 21.

Then we came to the task of preparing the content for print. I volunteered to have a go at the design, quickly becoming unstuck due to lack of time (and experience) to do the hard yards of putting the content in order, typesetting and pagination. Caroline and Carole rallied round and the decision was made to outsource. Palpable relief! From then on it was all steam ahead as we strove for perfection. Just as one thing was resolved, something else came to the fore – all change! At one point I cringed at the thought of finding something else, but the job had to be done – and well. All anomalies and doubts were aired, shared and cleared – some more comfortably than others (she writes as she remembers both the cringy and sparky ones). The strangest experience happened when it came to sending the final format to the printers. Part of me just didn’t want to let it go! 

Collecting the copies was a dream come true. What began as an idea floated around the group was finally real. And now it’s over to the sales team. 

Printer’s Proof

Caroline writes

And I am very proud of More Gallimaufry for many different reasons.

The cover

The appearance of this collection is very attractive. More than one of our writers are artists. The cover is fittingly called Devon Landscape and is the work of Fiona Green. She also provided the cover for Gallimaufry our first volume. 

Covid-19, lockdowns and the writers’ group

Our group thrives on active participation, this mostly in our fortnightly meetings, some of which are workshops, other involve reading our writing to others for feedback, and sometimes we explore a theme, such as structure, or pick a topic to write on together. 

In September 2019 we had organised a day’s writing festival for writers in Totnes called WRITE NOW TOTNES! It had been very successful and we planned some more activities with the surplus funds we had. 

Lockdown in March 2020 stopped us in our tracks. We managed to get regular meetings going again on zoom after several months, but some writers were not able to join, or chose not to use this method of meeting. 

We had had a schedule planned for the anthology, and the three volunteer editors had started to collect submissions when it all stalled. When we managed to meet again in the autumn of 2020, outdoors, with masks and overlooking the beautiful Dart river we made an important decision.

We had lost more than six months, but by shifting our schedule on a year, replacing all those 2020 dates with 2021, we could still produce a good volume and in time for the Christmas market. 

And that’s what we did. It was a wonderful moment when Pat, who collected all the writing together, informed us that we had work from 21 writers. Not only had we survived lockdown with our regular workshops and meetings, but we had 21 people interested enough to provide short stories, memoir and poems for our second anthology.

Editing

Pat and Carole have described our labours as we edited More Gallimaufry. We got professional assistance with the design of the cover, proofreading and having already commissioned a designer to work on the cover, she relieved us of the difficulties of typesetting as well

And then we set about chasing the last mistake. It seemed that we were nearing the end when we decided that poems spread over two pages should start on an even page, so that they could be read without turning the page. This required a large amount of reordering, and yet another revision of the contents page. 

Eventually, through our collaborative efforts it was all done, and the printer received instructions to print 200 copies.

Collaboration

This has been a collaborative project: the decision to embark on a second collection; the title; the cover; none of this was the work of one person, and often involved discussion in the meetings. 

A few days ago we collected the boxes of copies from the printers and handed them over to the Sales and Promotion team. This group have arranged the launch at the library, a sales event in the High Street, and promoting and selling the book through many outlets.

For me, the delight has been in the buoyancy of the writers group despite the limitations of the last 20 months. And while I don’t want to read it all again for some time, it was a huge pleasure to participate in the creation of a beautiful volume of excellent writing.

Thanks to Pat and Carole for all the fun, creativity and tolerance and for their contribution to this blog.

Carole, Caroline and Pat, slightly hysterical at the printers

If you are interested in acquiring a copy please contact me by email (lodgecm@gmail.com) or find the details of how on the Totnes Library Writers Facebook page. ISBN: 978 1 9996286 1 11

You can read about our first published volume (2015) Gallimaufry here.

Our first collection

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The Book of Old Ladies by Ruth O Saxton

This book fits right in with this blog’s series on older women in fiction. I am pleased to have had my attention brought to it. And I am pleased that Ruth Saxton has drawn attention to thirty-one works of fiction that challenge the stereotypes so common in literature, and in the beliefs of society at large about the lives of older women. Many of the novels and short stories have been featured on the blog: either in the list of suggestions or reviewed in the 50 posts published so far in the series on older women in fiction.

This is the 51st in the series of older women in fiction which I promote to make older women in fiction more visible. You can find the complete list of 100+ suggested books with links to the reviews here.

So what is The Book of Old Ladies about?

The subtitle reveals some of Ruth Saxton’s purpose in writing this book: celebration. In this case the celebration of ‘strong characters and vital plots’ of older women, works of fiction that make older women their focus. 

She describes how her reading life in the US began with some good young female protagonists (Jo March, Elizabeth Bennett, Jane Eyre), but when she got to college there were no women writers on the literature syllabus. Even when women were allowed onto reading lists in academia, older women, she observed were ‘simply beside the point’. While women writers and women as protagonists have achieved a better status in recent decades yet there is still, she claims, a paucity of fiction about older women. This was important because

As I aged, my focus turned from the girl and the mother to the grandmother, or the woman my age, and I began to look for plots that might help me map a possible future beyond the familiar fairy tale where the old woman is stereotyped either as the wicked witch of the fairy godmother. … I kept running into the same old stories in which the older women are simply beside the point. (2-3) 

Early searches brought elderly female detectives to her attention, such as Miss Marple and Mrs Pollifax. She observed how they were able to detect because they were invisible. We might add that as outsiders they are able to see what the characters and perhaps the readers cannot. The Miss Marples of this world are no guide to aging and old age.

I wanted to read the novels in which fictional older women prepare for the journey of aging, inhabit the territory and become increasingly their truest selves. (4)

For Ruth Saxton this means finding examples of older women who do not behave as if their life is behind them, who challenge the notion that marriage and motherhood are the pinnacle of a woman’s life, that old age is all downhill. We need more women in fiction who are more than the wicked witch or fairy godmother; both stereotypes refer to how the older woman stands in relation to others. We need more old women who are characters in their own right.

Organising the examples

Her analysis divides the chosen texts into five categories:

  1. Romancing the past (the continuing story of marriage and romance for women, which will drive out creativity and artistic success);
  2. Sex after sixty;
  3. Alternate realities ( the older women consider their current situations without much attention to their pasts);
  4. Never too late; and 
  5. Defying expectation.

The discussion of thirty texts under these headings is an interesting approach, and with only a few pages to discuss each one inevitably makes the originals appear thin. But organisation into themes brings more depth.

She includes a novel that I also admire greatly: Margaret Drabble’s recent novel The Dark Flood Rises, and concludes with a personal note about how the book was influenced by a car accident. You can find my review of The Dark Flood Rises here.

Some reflection on vocabulary and the cover

Finding a suitable phrase to describe women over 60 can be problematic. When we were writing The New Age of Ageing we had long discussions about the language used about older people in English culture and how we should refer to older members of our communities. Every phrase brings with it a great deal of baggage. To call women ‘old’ is difficult, and over the years I (and fellow writers) have used the softer ‘older’. Even the word ‘women’ is experienced by some as less polite than ‘ladies’. And the combination of those two sets of words can be difficult. Try them (out loud)!

Old woman
Old lady
Older woman
Older lady

And the subtitle uses that coy expression ‘of a certain age’. We are afraid of age. Our society does not treat old people well. We find all kinds of ways of avoiding what is seen as a stigma or even a fault – being old

The cover is also intended, I suspect, to allay fears of too fierce an approach. It is pink, with silhouettes and the main title in elaborate, curly lettering  – a kind of Jane Austen appeal?

I am not sure enough of the nuances of American culture to know whether these observations apply across the Atlantic. 

Despite these reservations I am grateful to Ruth Saxton for drawing my attention to many texts previously unknown to me, and for offering some new perspectives on familiar books. Even on the occasions where I have taken a different slant on a text, I am still thrilled to find a writer who shares my ideas that books about older women are undervalued. 

I would make the same point about women in society in general – older women are undervalued. 

The Book of Old Ladies: celebrating women of a certain age in fiction by Ruth O Saxton, published in 2020 by She Writes Press. 295pp

Recent posts in the Older Women in Fiction Series

At the Jerusalem by Paul Bailey

Lillian Boxfish Takes a Walk by Kathleen Rooney

Olive, Again by Elizabeth Strout.

Frangipani House by Beryl Gilroy

My full list of about 100 novels featuring older women can be found here.

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My Bookish August

This has been a rather mad month in terms of bookish and writing activities. I know we are barely half way though August but it has been non-stop in the Bookword world. 

Woman’s Hour

For readers outside the UK who may not know it, Woman’s Hour is a long-running magazine programme on BBC Radio 4. As the title suggests, it focuses on issues from the female perspective, and covers a very wide range of topics. It has a large audience.

Early in August I was asked to join a discussion on older women and fiction, to be broadcast live. The prompt for this discussion was some recent research into the tastes and disappointments of women readers over 40, commissioned by the website Gransnet.

Our topic took as its starting point that women over 40 are the biggest buyers of fiction, but the survey revealed that readers were dissatisfied with how older women are depicted. They often appear in novels as stereotypes, for example unable to operate a smart phone. I made my points about how everyone needs to read good examples of older women, not just readers over 40. And I recommended three good titles, having plugged my blog. I have been asked to repeat my recommendations – so here they are, with links to the reviews on Bookword.

I was asked to arrive by 9.30am, but was unable to find the studio. Fortunately I have done this kind of thing before, or I would have been completely fazed by arriving late, having followed internet directions to the studios in Exeter that they left four years ago. My smart phone was no help; no one answered my increasingly desperate calls and no one could tell me where I was supposed to be. It took a gasman, a community centre receptionist and a taxi driver to deliver me to the studio. The programme order was rearranged to accommodate my tardiness.

This time I met no chickens as I waited to go on air. For an account of a previous experience in September 2014 in a BBC radio studio to promote a book see the link here: Retiring with Attitude at the BBC.

Guest Blogging on Global Literature in Libraries Initiative website

Karen Van Drie invited me to blog in August about older women in fiction around the world. I hope you have or will take a look. By the end the month there will have been about 25 posts. Sadly only six are translations. This is disappointing because August is Women in Translation Month: #WITMonth.  

You can find the blog here: Global Literature in Libraries Initiative, and for more information about the guestathon see my post on Bookword for 3rdAugust.

Planning for the Writing Festival

But most of my energies in August have gone on my contribution to planning a writing festival. WRITE NOW TOTNES will be held on Saturday 21stSeptember, organised by the Totnes Library Writing Group. We have pulled together an exciting range of workshops and other events designed to appeal to participants with a range of experience and of confidence. 

We are proud that it is a local event, ie all workshop leaders and performers are from the area around Totnes, and it is held in the centre of Totnes in the community buildings known as the Mansion. We are thrilled to have attracted funding, including from the Arts Council Lottery Fund. 

There is so much to organise and get right. I have volunteered to do a workshop on blogging of course.

For more details see our Facebook page.

And …

Just three things to keep me busy? Did I mention the dog, or writing or  …? Enough!

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Filed under Books, Learning, Libraries, Older women in fiction, Publishing our book, Reading, Reviews, The Craft of Blogging, Women in Translation, words, Writing

My New Bookish Project

It is with some trepidation that I go public with my new writing project. I am a publisher or rather Bookword is a new publisher. I am very conscious of the idea of vanity publishing. On the other hand I am enthusiastic about the possibilities for citizen publishing on a small scale. If technology makes it possible for more of us to publish, to rely less on the big 5 publishing commercially motivated companies, to spread the idea of independent publishing, then I am happy to give it a go.

And because my novel needs yet another revision it isn’t my first venture. Instead, and in time to give a copy to everyone I know over the age of 12 for Christmas, it’s a collection of 15 of my short stories written over the last 10 years and called Better Fetch A Chair.

Better Fetch A Chair

I published Better Fetch A Chair in early December 2018. The title is an old African saying. And I have taken the name of my blog as the name of the publishing venture Bookword. My main purpose is to have a physical book, containing my fiction, and I do not expect to make money from it. My other purpose is to learn about book production from start to finish. So this is what I did.

Bookword as Publisher

To set up my enterprise I did the following:

  1. ISBNs are useful because an ISBN will ensure that my book will be entered on various databases, including those used by booksellers and libraries. This will guarantee it a better profile. I bought 10 ISBNs from https://www.nielsenisbnstore.com. You can buy one for £89 or ten for £159. As I expect to publish more than one book in due time the choice was obvious. I also learned about making a legal deposit with the British Library.
  2. My collection of short stories needed a proofreader to check them through. I commissioned @Juliaproofreader aka Julia Gibbs to check my stories for accuracy and get them ready for printing. Important learnings here: I am not as accurate as I think I am and I do not know as much about correct capitalisation and presentation as I thought I did. Julia was thorough and I am grateful to her. She helped ensure the professional appearance of the book.
  3. Looking professional is important in such a small-scale project. I searched for someone to design a cover and found Simon Avery of Idobookcovers. I was attracted by the designs on his website, and by his deign process. I had to provide information about my book, Simon did four preliminary designs, I considered these and asked around – my friends, family and writing group all gave their opinions. Finally I asked for some variations to one of the original designs and Simon obliged. It was not cheap, in fact it was the most expensive aspect of the whole thing. But a cover carries so much about the book, its tone, its genre, it is worth getting it right.
  4. Each copy of the book cost more than £10 to produce. As I was not primarily concerned with making a living I decided on a lower cover price.Decisions about theprint run have been guesswork based on my Christmas present list and the other possible destinations for copies. I settled on 100 at £8.99 each.
  5. Another writer I know had used a local printer, Nick Walker of Kingsbridge, and the people there were very patient and helpful as I got my copy ready for print. I found it hard to set up the pages correctly, and the pagination I really wanted eluded me to the end. I hope to improve on that aspect of publishing next time. The printing process seemed like magic: it would take my imaginary book and turn it into a concrete thing. I have chosen not to produce an ebook, partly because I don’t read them myself, but mostly because what I wanted from this process was to hold a book of my fiction in my hand.
  6. I haven’t yet entered the world of promotion, publicity and marketing. That’s my next step.

I fully expect not to recoup my costs, and although it is a business I expect it to remain small, and the losses to be manageable.

And who knows where this will take me? I may decide to publish my novel, books by writers and poets I know, or even launch out and take submissions. But not yet. I’m starting small. Please don’t inundate me with manuscript submissions.

The Conchie Road

I recently posted an article on this blog called The Story of The Conchie Road. It described the writing of a short story called The Conchie Road, which took me to local history meetings, and to the Dartmoor Prison Museum at Princetown, and to reading aloud to cows in the rain on Dartmoor. You can read the story in Better Fetch A Chair.

And if you want to obtain a copy for the reduced price of £5 (p&p included) you can either email me (lodgecm@gmail.com) or DM me on twitter @lodge_c and I will send you details.

Better Fetch A Chair  by Caroline Lodge, published by Bookword in 2018. 142pp. Cover price is £8.99 but available for £5.

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Please note that in future I shall be posting every five days (instead of four) to give myself a little more time for my other bookish projects. I hope you’ll continue to enjoy the mixture of posts.

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Filed under Books, Publishing our book, Reading, Reviews, short stories

After Publication

The New Age of Ageing: how society needs to change by Caroline Lodge, Eileen Carnell and Marianne Coleman was published by Policy Press in early September. I have lost count of the number of books which I have co-authored or co-edited. That may read as rather big-headed, but I have been at it since 1991 – a quarter of a century!

But I have never stopped being excited about publication, the moment when one’s ideas are launched into the world, when you hope other people will benefit from one’s experience and reflection. It’s like a baby grown up and off into the world.

The delight of the printed book

There is pleasure in contemplating the newly printed book. All new books have a charm, the unbroken spine, the clean pages, the unblemished cover. When it’s a cover which announces one’s name and that title over which we laboured for months, then it has extra delight.

Then there is the pleasure of the pile of new books, see below. This is surely one of the pleasures of entering a bookshop – multiple copies, many volumes.

And, I admit, the smell of a new book is also to be savoured.

The promotional articles are done

Following publication we put ourselves about, writing promotional articles:

Eileen wrote for Mature Times, an article on the fear of ageing and how older people are ignored in commercial promotions. The stimulus for this was Jeremy Paxman’s demonstration of ageism in the FT diaries of 19th August 2016.

At the reception desk of a hotel to which I checked in this week was a pile of free copies of the Mature Times, which calls itself “the voice of our generation”. Oh God, I thought, the cheeky bastards are including me. Back off. For this must be the most unfashionable publication in Britain. Who wants to be called “mature”, like an old cheese? We all know that “mature” means on the verge of incontinence, idiocy and peevish valetudinarianism. They might as well have named it the “Surgical Stocking Sentinel” or “Winceyette Weekly”.

There was a lot more of this kind of thing in his piece. It seemed to us that a man of 66 was not doing his generation any favours, rather it was lazy journalism to accuse us of being on the verge of incontinence, idiocy and peevish valetudinarianism. (I had to look up that last word. It means in poor health or obsessed by poor health, which you probably knew.)

Marianne provided a post for the blog of ILC-UK (International Longevity Centre) on the future challenges of health and care in an ageing society.

She also posted on the Henpicked website, an article called How do you feel about Ageing?

For the Policy Press blog, I did a piece on age-blaming using the example of what people had said about older voters following the EU Referendum.

For the on-line magazine Discover Society we produced a piece about older people and housing, and the need for more affordable housing and for planning to take account of local views and construction that adopts a more age-inclusive attitude.

I found that writing these articles was much like writing the book itself, although more condensed.

Book promotion

Our publishers, Policy Press, have done sterling work to promote our book. In addition we announced the publication

  • on Facebook,
  • on twitter,
  • to every friend,
  • and to every professional connection we could think of.
  • I blogged about it.
  • Some magazine offered copies as a prize.
  • We gave flyers to our local bookshops.

And then …?

We waited.

We waited for reviews.

And for our readers to tell us how good it is, or how they agreed with this or wanted to argue about that …

I have been asked, ‘how’s the book going?’ And I have to say, ‘I have no idea’. I have no idea about sales: what would be good sales, what would be disappointing? Above all, I don’t think the world or even society has changed yet as a result of our book. I don’t know if it has even been nudged. That’s how it goes with most books. You don’t know.

That’s what I have learned, over the years, that after publication one waits. It’s an anti-climax after all that work. And you may never know whether you have piqued the interest of any reader, given them new ideas, encouraged debate. Sometimes people will tell you how important you book was to them, or how they saw it in a bookshop, or they don’t like the cover. But that’s it.

Why do we do it? Why write books? Well why do we?

Copies of The New Age of Ageing are available through the Policy Press website, where you can obtain a discount.

Related Posts

From February until publication day we posted at least once a month about the stages of book production from bright ideas to publication. You can find the posts here:

Publication Day September 2016

Trouble with Titles and Covers (August)

Marketing our Book (August)

Learning to be old by Eileen Carnell (July)

Ageing: it is not ‘them and us’, it is all ‘us’ by Marianne Coleman (June)

Getting feedback to improve our writing (May)

First Catch Your Publisher (April)

One Book, Three Authors (March)

Writers’ Residential (February)

 

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Filed under Books, Publishing our book, Writing