My wife and I attended two events at the London Literature Festival: readings by Carol Ann Duffy (the Poet Laureate,) ‘and friends’; and an interview with Salman Rushdie, both at the Southbank Centre, London
Carol Ann Duffy was the last of four readers; the other three were Imtiaz Dharker, Keith Hutson and Mark Pajak. Ms Duffy, born 1955, is a Scottish poet and playwright. She is Professor of Contemporary Poetry at Manchester Metropolitan University and was appointed Poet Laureate in 2009. She is the first woman, the first Scot and the first openly gay to hold the position. Her poems address issues such as oppression, gender, and violence in an accessible language that has made them popular in schools.
Carol Ann Duffy
Of the four poets, I liked the readings of Mark Pajak best. His poems were quite ordinary in their subjects – the one I liked best was about removing dead birds from a hen battery – but he has a way of expressing emotions with unique yet powerfully descriptive phrases. This is a talent which I aspire to emulate. Mr Pajak is quite a young poet, currently completing an MA in creative writing at Manchester Metropolitan University. My wife’s preference was Imitiaz Dharker, a Pakistani-born, English poet in her mid-sixties. Ms Duffy’s concluding poem was a bad-language rant against the corrupt elite using seven key words. It was intended to be clever but for me, it came across as bombastic.
Salman Rushdie was interviewed by Erica Wagner, and American-born (1967) author and critic, who was literary editor of The Times from 1996 to 2013; she has written several books, including a novel, a collection of stories and a biography. She has served twice as Booker Prize judge.
The discussion with Salman Rushdie began with Midnight’s Children, which he characterised as a history. He made the point that one writes an historic novel, one must have a road map of places and events to be covered before one starts writing. This road map makes the task of writing quite different than when one starts with a character-based novel, and lets the development of the characters control the flow of the novel. He confessed to being very torn between Midnight’s Children and Children of Midnight. After writing both titles down repeatedly on a sheet of paper, he woke up the next morning and realised that Midnight’s Children is the better title. He said that while in Italian and Spanish, there is a similar choice between the two constructions, in French there is only one, so one has to be attentive to the advice of translators.
He confessed to be a reader who is ‘not anxious to turn the page’, and this confession reminded me of my criticism of Rushdie’s writing: that it is sometimes too verbose.
The narrator of his latest novel is a young man called René, and he made the point that it is an important decision for an author to select the narrator: there have to be good reasons for the selection. I agree. He then spoke about the difficulty for a seventy-year-old writer in getting into the head of a hip young New Yorker – though he didn’t mention his technique for the transformation.
Much of the dialogue with Ms Wagner was about The Golden House, Rushdie’s most recent, which is a parable of American politics, written after the Obama inauguration. There is a Trump-like character who likes to refer to himself as The Joker. Rushdie said, “In a deck of cards, only two of them don’t behave properly: One is the trump and the other is a joker.” He read from The Golden House: “It was the year of The Joker in Gotham and beyond, as America had left reality behind and entered the comic-book universe. . . Suddenly lying was funny, and hatred was funny, and bigotry was funny.”
Suggesting that perhaps Donald Trump, The Joker is insane, Rushdie said, “people backed him because he was insane, not in spite of it. What would have disqualified any other candidate made him his followers’ hero.”
Most of The Golden House was written before Trump was president, so it was prescient in predicting the outcome. “The book knew,” Rushdie joked.
Having met on several occasions, Rushdie and Trump are acquaintances, though there is some doubt that Trump has read the novel, not being much of a reader. “I’m still waiting for that tweet.” Rushdie said.