Tag Archives: Baileys Prize for Women’s Fiction

Is Age a Barrier to Good Writing?

At a time dominated by the cult of youth, does the age of a writer matter? It always seems that publishers are looking for the next bright young thing. I have seen it suggested that this is to ensure that they will get a return on an author likely to write several books.

Things are changing. We live in an ageing society, in which more people are living longer. It is likely that there will be more older writers in the future. In our book, The New Age of Ageing, we considered the effects of our ageing population, not just on the individual, but also on families, our communities, policy. In this post I explore on the effects on publishing.

Ageism in society

Writing about age means identifying and confronting assumptions about age. There are plenty of discriminatory practices in our society. We can start with how older people are usually seen: conservative; physically weak and declining; not interested in sex and not sexy; defined by death (all those bucket lists).

My posts reviewing fiction about older women has revealed a more nuanced set of characters, with some feisty older women (see Moon Tiger, and The Dark Flood Rises) and some respectful views of older people with Alzheimer’s (Elizabeth is Missing) as well as caricatures of the eccentric and declining.

But what about older writers? We can count on Martin Amis to say what many people think about older writers, quoted by Michele Hanson in the Guardian,

Octogenarian novelists ‘on the whole [are] no bloody good. You can see them disintegrate before your eyes as they move past 70’.

Let’s look at late starters and writers who write into old age.

Late starters

Late, in the publishing world, means after 40. The most famous late starter was Mary Wesley, whose first book for adults Jumping the Queue was published when she was 70 years old. She went on to publish nine more novels and a memoir.

Dinah Jefferies, author of the best seller The Tea Planter’s Wife, published her first novel was when she was over 60. People had informed her that she wouldn’t find a publisher because of her age. Three of her novels have now been published. She told Saga Magazine in February 2016,

I read time and again that you have to be under 60 to be able to succeed at writing. All it made me think was, “I’ll show you. I’m not having that”. (Saga Magazine February 2016)

Keeping on

The list of writers who kept on writing, or who are still writing, is long and distinguished. Michele Hanson referred to Ursula Le Guin, Fay Weldon and Ruth Rendall. I add Diana Athill, Cynthia Ozick, Mary Weslely, and Elizabeth Jane Howard. And there are more.

I recently reviewed a novel by Edna O’Brien, The Little Red Chairs. The author was 84 when she published this her 17th novel.

Margaret Drabble published The Dark Flood Rises when she was 77. It is her 19th novel.

Penelope Lively wrote Moon Tiger when she was 54. She’s still publishing at the age of 83.

It’s not age, stoopid, it’s sex!

So it is not so much age that is a bar to getting published, especially if you have a distinguished career behind you. Gender is much more of a bar to getting books published, promoted and sold. Year on year the VIDA statistics reveal the failure of literary publications to review books by women, or to employ female reviewers. The Bailey’s Prize for Women’s Fiction was begun to help draw attention to excellent books by women.

Thank you to my co-author Eileen for suggesting the topic of this post some time ago, while we were writing The New Age of Ageing.

Related posts

Women and Fiction, for more on this theme. (September 2015)

Is there Discrimination against Older Women Writers? Interview with Anne Goodwin, author of Sugar and Snails. (December 2015)

There are reviews of 25 books in older women in fiction series on this blog.

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Filed under Books, Older women in fiction, Reading, Reviews, Writing

Women and Fiction

Dispirited? Moi? Well yes, a little. It seems that women’s works will always, always be neglected in favour of men’s. Despite excellent fiction written by women, despite the situation being exposed again and again and despite our best efforts. I am dispirited.

In the lists

200 Middlemarch coverTake the Telegraph’s list of 100 novels everyone should read, for example. Good start – first on the list is Middlemarch by George Eliot. There are, count them, another 18 novels written by women in the list. There is, of course, Charlotte and Emily Bronte. Virginia Woolf, Jane Austen and on through Elizabeth Gaskell, Mary Shelley to Harper Lee. I wouldn’t actually disagree with any of the 100 novels, they should all be read. And more too. People should read. But 19% is not a good representation of women’s writing in a list with that title.

Bit of a girly cover?

Bit of a girly cover?

Same again in the list of 100 best novels written in English from Robert McCrum, published in the Guardian in August 2015. 22% books were by women. Emma by Jane Austen was #7 on the list and the first by a woman. The list was criticised for its lack of diversity (including women, people of colour, the Irish). Readers added another 15, of which 6 were by women.

If the proportion of women rises above 17% in Hollywood crowds people believe that women are in the majority, according to Caroline Criados-Perez author of Do it like a Woman. In lists of fiction the threshold appears to be about about 20-25%.

Perhaps the problem is the lists. The idea of the 100 best in fiction is subjective, and reflects the compilers’ tastes, prejudices, knowledge, experiences. Guess who compiles the lists!

The Vida Count

Research is undertaken annually by VIDA Women in Literary Arts and can now show the picture of women writers in a number of categories in leading literary journals over 5 years.

The 2014 VIDA count tells a vital story about the lack of parity in the literary arts. In addition to surfacing the barriers women face in the literary space, the research shows that the obstacles are compounded for women of color. Women Authors and the Media.

VIDA looks at the journals and counts, by gender, its reviewers, the authors reviewed and the bylines of its journalists. Here are the charts for two UK based journals: Granta, which does comparatively well and the TLS, which does not. The men are in red, the women in blue.

200 Granta Overall1

200 LRB Overall6

And here is a particularly depressing chart if you are a woman author trying to get attention for your books from New York Review of Books. At least it improved at the last count.

200 NYRB Authors-Reviewed6

More than numbers

And it’s more than numbers. Meg Wolitzer wrote about the women’s fiction question in the New York Times in an article called The Second Shelf: on rules of literary fiction for men and women.

She uses the term ‘women’s fiction’ to refer to literature written by women, but acknowledges that it is used to describe

a certain type of fast-reading novel, which sets its sights almost exclusively on women readers and might well find a big, ready-made audience.

All fiction by women gets lumped into this category, especially by some men, as ‘one soft, undifferentiated mass that has little to do with them,’ she argues. She looks at reviewing, Amazon categories, book jackets, book length, the gender of the main characters which all indicate to readers what one might call the gender of the book. And that there are exceptions (prize winning books by women for example) does not indicate an approaching literary idyll. As poet and literary critic Katha Pollitt says

For every one woman, there’s room for three men.

The eminent historian Mary Beard has shown how women in public spaces have always been silenced by men, from Penelope in Homer’s Odyssey onwards. Her LRB lecture was called The Public Voice of Women.

Here are more exposes of how women writers are treated.

16 things sexist male writers say by Christine Stoddard in Huffington Post 29.7.15

Gendered travel writing How not to be Elizabeth Gilbert by Jessa Crispin in Boston Review 20.7.15 ‘Men go on adventures, women on journeys of self-discovery’

Women know your place by Tracy Kuhn on Women Writers, Women’s Books 3.7.15

Women in Translation Month Biblibio 21.5.15 who followed up the introductory post with 31 daily posts in August.

What to do?

189 Do it coverCaroline Criados-Perez (Do it like a Woman) ascribes male domination to the male default. This is the attitude that women are the exceptions, men the norm. Only exceptional novels make the lists, are reviewed, are published. We must expose it, show it up for what it is and for how it deprives everyone.

Go on counting, and go on publishing the figures. Go VIDA!

Follow the example of #Readwomen, not necessarily to read women only but to be conscious of the proportion of women writers and take some corrective action if necessary. I posted about #Readwomen in June 2014. It was my 100th post on Bookword.

159 BWPFF 2015 logoTake account of the long and short lists from the Bailey’s Prize for Women’s Fiction. It is likely that we will need a women’s prize for the foreseeable future. I wrote a post about the need for such a prize in 2013 called Who or what are literary prizes for?

Promote specific initiatives, such as Women in Translation Month. This twitter focus -#WITmonth – brought many great translated works of fiction to readers’ attention. My contribution was The Mussel Feast by Birgit Vanderbeke

Bookword includes a series that highlights older women in fiction, nearly all written by women. I believe that we need to see images, read books, watch plays and films about those who are less visible in our world than white, middle-aged, males or beautiful young people.

Talk about the obstacles, and praise the breakthroughs and advances. Publishers, editors, list compilers, bookstore buyers, judges panels – they all need to be aware of the bias towards male writers, and be prepared to justify it when they continue it. And they need to know about all the great novels by women and how we want to read them.

And it matters because …?

Because the job of fiction is to take people to worlds that are other than their own, worlds elsewhere, show different perspectives, understandings, experiences. Reducing access to the 51%’s other worlds makes no sense.

175 Womenppower symbolThis is my 200th blog post. It matters to me and it should matter to everyone who enjoys great fiction (which should be everyone, but that’s for another post!). So I shall stop focusing on the dispiritedness and go forth again, into the struggle.

Is there some action you can propose to promote women’s fiction?

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Baileys Prize for Women’s Fiction Shortlist 2015

BWPFF 2015 logoAnnounced on Monday 13th April 2015, here is the shortlist for the Baileys Prize.

  • Rachel Cusk: Outline
  • Laline Paull: The Bees
  • Kamila Shamsie: A God in Every Stone
  • Ali Smith: How to be Both
  • Anne Tyler: A Spool of Blue Thread
  • Sarah Waters: The Paying Guests

160 How to be bothThe winner will be announced on Wednesday 3rd June.

These books were on the longlist:

  • Lissa Evans: Crooked Heart
  • Patricia Ferguson: Aren’t We Sisters?
  • Xiaolu Guo: I Am China
  • Samantha Harvey: Dear Thief
  • Emma Healey: Elizabeth is Missing
  • Emily St. John Mandel: Station Eleven
  • Grace McCleen: The Offering
  • Sandra Newman: The Country of Ice Cream Star
  • Heather O’Neil: The Girl Who Was Saturday Night
  • Marie Phillips: The Table of Less Valued Knights
  • Rachel Seiffert: The Walk Home
  • Sara Taylor: The Shore
  • Jemma Wayne: After Before
  • PP Wong: The Life of a Banana

151 E missiing cover 3

And here’s the shadow shortlist from The Writes of Women blog:

  • Samantha Harvey    Dear Thief
  • Sandra Newman      Ice Cream Star
  • Ali Smith                    How to be Both
  • Sara Taylor                The Shore
  • Anne Tyler                A Spool of Blue Thread
  • Sarah Waters           The Paying Guests

 

Never mind the winner, here’s lots of lovely reading for us all!

 

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