Changing The Agenda
This year, the Irish literary scene has seen a nimble rise of female-crafted fiction. Women are rejecting tradition and giving much-needed voice to untold stories.
In 2010 I returned from Belfast to Dublin at the height of a miserable recession and it seemed everyone I knew was retreating back into the garret to write. The cocktails and carousing were finito. Friends who had thrived in high gloss work environments (architects, project managers, journalists, big wigs in PR, etc.) were sidling up to social welfare windows like dehydrated cats. Next came the volunteer slots and ‘internships’ to stay sane. The men I knew had more of a problem dealing with ego-collapse. They got awful angry awful quick. No-one knew what to do.
Themes began to emerge both in the writing workshops I sat in on as an employee of the Irish Writers’ Centre. Men were writing about disaffection, not being taken seriously, Camuesque displacement, lack of sex, intimacy or belonging. The writing was good, sometimes great, but it was startlingly similar. Women who had, during the Tiger years, concentrated on romantic relationships and the pearls of materialism, diluted neurosis, etc., were turning to more serious issues: violence, misogyny, rape culture, crime, retribution. Chick-lit fell off the carnival float and was replaced with edgy young adult (YA) and high-end literary fiction.
Sarah Griff began writing around this time. Her novel Spare & Found Parts is published next year with Greenwillow (Harper Collins); a story about a girl who builds herself a robotic companion. It takes the creation myth out of Victor Frankenstein’s hands and puts it back in the hands of a teenage girl.
“Women who are writing for Young Adults are, in some ways, writing the work they wish they had access to when they were growing up,” she says. “They’re composing their own cautionary tales, assembling tool kits for the ongoing madness of being an adult woman. I think these novels are equipping the next generation with more than we had – like a new mythology, a different compass for the road ahead.”
Justine Delaney Wilson whose novel An Ordinary Face is published next Spring by Hachette Ireland says that women are writing about what it means to live and cope in a fractured modernity, especially since recession. “The truth of human relationships, loss of self, coping with emotional turbulence – certainly these themes are prevalent now,” she says. “I wanted to write a tale about a family, about what’s left when the structures we’re used to collapse.”
New writers are emerging focussing on the darker themes of women’s experience.
“I chose to write a novel about two young prostitutes and their experiences could only happen to, and be felt by, a female body as a receptacle of the male gaze and desire,” explains Lisa Harding, whose novel is currently being sent to agents and publishers.
“The book came about because I was involved in a campaign run by the Body Shop and the Children’s rights alliance to stop sex trafficking of children. I heard firsthand accounts of the girls’ stories I wanted to give a voice to these invisible women and to try to inhabit their skin as closely as possible.”
Selina Guinness who is writer in residence at DLR Lexicon for 2015/16 maintains that Ireland has always had a tradition of strong women writers of literary fiction: Elizabeth Bowen, Kate O’Brien, Edna O’Brien, Jennifer Johnston, Deirdre Madden, and that list is expanding and warping all the time. “I think society’s loss of faith in the authority of institutions generally, many of which were strongly patriarchal – banking as well as the church – means we now invest more hope in the informal communities which women have always sustained. And women tend to be supportive of other women writing,” she says.
There are some signs that contemporary fiction by Irish women may be consciously moving beyond female narrators, according to Guinness.
“Sara Baume’s choice of a lonely old curmudgeon as the narrator for her debut, Spill, Simmer, Falter, Wither, is brave for a young woman; Anne Enright is a straight woman who inhabits the voice of a young gay Irishman with effortless conviction in The Green Road; Belinda McKeon focuses on male gay sexuality again in Tender.”
Belinda McKeon says: “My first novel is a novel I’m still proud of, but it wasn’t until a year or so after I’d published it that I realised how firmly and obediently it sat with and with respect to a male literary tradition. That wasn’t a conscious decision. Pushing myself in a different direction, with a female protagonist and a female consciousness fully and unapologetically on the page, was a conscious decision and one about which I felt nervous.
“Social media, the support network, the sense of people talking about the process and the accompanying anxiety and challenges of trying to be a writer, has made a huge difference to me, and I think to other writers who are women as well. When I started out, I felt like a woman in one of those old-fashioned Gentlemen’s clubs on St Stephen’s Green. Now it feels more like a decent party in someone’s house. A house with a view.”
**This article of mine was published in The Gloss Magazine, 1st October, 2015.
Posted on October 1, 2015, in Books, Interesting to know, Publishing, Women, Writing and tagged Anne Enright, Belinda McKeon, Deirdre Madden, Edna O'Brien, Elizabeth Bowen, Falter, Irish Writers' Centre, Jennifer Johnston, Justine Delaney Wilson, Kate O'Brien, Lisa Harding, Sara Baume, Sarah Maria Griffin, Selina Guinness, Simmer, Spill, The Gloss Magazine, Wither, Young Adult. Bookmark the permalink. 1 Comment.