Does London need its own literary fest?
Sunday 14 March 1999
It all sounds busy and purposeful, though whether we truly need another literary festival is another question. It is not as if there is a shortage. The British Council's guide to arts festivals lists more than 70 such annual events: everything from the sizeable gatherings at Edinburgh, Aldeburgh, Brighton, Hay-on-Wye and Cheltenham to the smaller get-togethers in Abergavenny, Richmond-upon-Thames and Bracknell. Culture vultures with time on their hands can while away the entire summer by checking out the scene in Harrogate, King's Lynn, Rye, Dartington (home of the Ways With Words Festival, sponsored by this newspaper), Ilkley, Sheffield, Cleveland, Wells, Lancaster, Guildford, Canterbury and Hastings.
The modern conference industry now represents a likeable new perk for authors. They are routinely ferried around to meet one another and have dinners in nice restaurants, where they crack jokes about the inanity of the questions they get asked by the public. No one disputes that this is fun for them - but is it fun for anyone else?
These literary carnivals broadcast a false image of writers as cosmopolitan, cocktail-hour jetsetters, when the truth is that they tend to be solitary types who spend most of their time scratching their heads. They also tend to promote authors rather than works, personalities rather than ideas. Publishers, as is now well documented, are increasingly obliged to consider the attractiveness of their authors. And if this does not yet define what gets published, it does help determine what is publicised. The standard publishing term for a pretty author is that she (and increasingly he) is very ... um ... promotable". There is also the fear that the gregarious nature of these events is actually inimical to the more tranquil (and therefore arduous) business of reading.
But only a spoilsport could seriously object. A festival is by definition a feast: it implies excess. Scanning the programme for The Word it is easy to see it as inflated, as a queasy superfluity of literary chit-chat. But no one has to go to all of it, any more than we have to watch everything on television.
Besides, none of this is new. Dickens went on reading tours, and the idea of festivals is a basic urge which goes back a very long way: Aeschylus, Sophocles and Euripides were all products of the vivid drama competitions of ancient Greece. As it happens, gold medals for art, architecture, music and literature were actually included in the Olympic Games until 1948 - and the idea of the arts as a competition lives on in our charts and prizes.
Indeed, this ancient idea of culture as sport is attractive in itself, and certainly preferable to some loftier procedure. There can be a touch of despotism about arts festivals. Tyrants like them - it shows how sensitive they are. But The Word seems inspired by a more demotic impulse, similar to the one that drives people on to streets in Rio de Janeiro or Notting Hill Gate. Richard Dawkins will speak at Bromley Central Library; Margaret Atwood at the Secombe Theatre, Sutton; Martin Amis in Swiss Cottage; Ian McEwan at the Harrow Arts Centre. The Word spreads far and wide.
The most striking thing about The Word, however, is its decisive international flavour. Festivals cannot afford to be merely bourgeois museums. Ideally they should be forums for the promotion of new or difficult work, places to experiment - arts laboratories, as it were. If festival-mad Britain were to continue down this heritage-industry route, serving up inoffensive entertainments in the gap between a cream tea and dinner in the Duke's library, then it wouldn't be a heartening trend. But this doesn't seem to be what is happening.
The Word includes events on Chinese calligraphy and Hindu storytelling. It has sucked into London many notable writers from overseas: Chinua Achebe from Nigeria, Hugo Claus from Belgium, Bei Dao from China, Orhan Pamuk from Turkey, and others far less well-known. This is not London promoting itself to the world. Instead, the world is coming to London. About time.
The Word (0171 971 0408; www.theword.org.uk): Fri to 28 March.
Books And it is whizzpopping!
MusicThey're running their own restaurants
Arts & Ents blogs
- 1 Dentist who illegally killed Cecil the lion blames local guides for the scandal
- 2 Kate Winslet thanked 'particularly horrible' girl who bullied her at school after Titanic success
- 3 Norwich paedophile ring: Woman at centre of gang who made children 'sexual play things' guilty of 23 offences
- 4 Black and ethnic minority people twice as likely to be hit by Tory cuts than white people, report finds
- 5 Walter Palmer: American dentist revealed as the killer of Cecil the lion in Zimbabwe
New on Netflix August 2015: From Narcos and Spellbound to Kick Ass 2 and Dinotrux
Listen! Beowulf opening line misinterpreted for 200 years
Heath Ledger's father reveals dead actor's 'Joker diary' written during The Dark Knight
Game of Thrones season 6: New toy line suggests Jon Snow is not among the dead
Spectre: Ellie Goulding is almost definitely singing the theme song to the next Bond film
Labour leadership contender Jeremy Corbyn says 'we can learn a great deal from Karl Marx'
The last thing Labour needs is a leader like Jeremy Corbyn who people want to vote for
I am the Jeremy Corbyn supporter that many will tell you doesn't exist
Public anger after French sunbather beaten up by gang for wearing a bikini in Reims park
Labour leadership: New poll shows party is now even 'less electable' than under Ed Miliband
Yvette Cooper: Our choice is years of Tory rule under Jeremy Corbyn – or a return to a Labour government