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Posts Tagged ‘books’

Please crowdfund this young British author — his idea is terrific!

In antiques, art, beauty, books, culture, education, History, journalism on October 29, 2014 at 12:40 am

By Caitlin Kelly

 

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If it weren’t for Twitter, I would never have discovered the wit and wisdom of Josh Spero, a 30-year-old London journalist who covers art for Tatler, a glossy British monthly magazine whose primary audience is people with multiply-hyphenated surnames and country houses that make Downton Abbey look shabby.

He also edits Spear’s magazine.

Josh is crowdfunding his lovely and unusual idea for a book — to seek out the previous owners of the books of classics he studied while at Oxford; so far, he’s got one-quarter of his goal amount.

We have yet to meet in person, I hope to do so when I get to London in early January 2015.

A few Spero-isms:

“I’ve never been able to stand rules and regulations”

“My working thesis – which my book has borne out, I hope – is that everyone’s life is interesting, worth telling, has some mystery or intrigue or romance or drama”

“I’m not an e-book man, for a few reasons. I don’t object to the idea, but like celery and exercise, I don’t really see why I should have it”

Tell us a bit of your personal history….

From six months until 26 years, I lived in Edgware, a barren untroubling suburb of north-west London, whose best escape was books. We used to walk down to the second-hand bookshop the other side of town, near the salt-beef bar, and I would buy half a dozen Hardy Boys novels a week, before I moved on to cheap copies of literary classics. My dad was then – is still – a London black-cab driver, my mum a housewife until I went to private school, when she had to get a job to pay for it.

University College School was in Hampstead, a leafy village within London which had been home to Freud and Daphne du Maurier (not as cohabitants), and it was famously, perhaps notoriously, liberal, which worked for me: I have never been able to stand rules and regulations. And still I read everything I could find.

Where and what did you study at university and why?

At UCS, I was taken by Classics – the Greek and Latin languages and their worlds. I loved the drama of their histories, the great men who kicked the Gauls’ arses (I was never a fan of Asterix) and beat back the Persians. It was a revelation to delve into Vergil’s occultism and Euripides’ mania, so I was desperate to study it at Oxford, the best place in the world for Classics, no doubt.

After passing Magdalen College’s stiff interview and being told I had a decent chance of a decent degree, I spent four glorious years there, half of them locked in the library, the other half arguing my way out of positions I hadn’t meant to argue my way into and doing Oxford Things (punting, politicking, student newspaper, inedible Formal Hall dinners).

Where did you get the idea for this book?

One of my first freelance writing jobs was covering the summer auctions of Contemporary art at Sotheby’s for The Guardian in 2007, those thrilling incomprehensible displays of pills in cabinets and what looked like disassembled crates. There the idea of provenance insinuated itself into my brain: every catalogue listed with delicious rectitude a work of art’s previous owners; soon it occurred to me that the same thing was true for books – and not just expensive books either. That’s where Second-Hand Stories comes from.

Over four years at Oxford, and six years tutoring afterwards, I had accumulated well over a hundred Classics books, from how to write in Greek verse (weirdly pleasurable) to texts of everyone from Plato to Propertius. There had to be curious tales tied to the names inscribed in them, so I sorted out the fifty-odd books in which their owners had recorded their names and set about tracing them, the previous owners of my books. I didn’t mind if they weren’t celebrities or lords or royalty: my working thesis – which my book has borne out, I hope – is that everyone’s life is interesting, worth telling, has some mystery or intrigue or romance or drama.

What was the best part of writing it?

The best part of writing Second-Hand Stories was, by a long way, discovering the stories of those who had owned my book. While I thought I might uncover some unusual tales from my eleven subjects, I never imagined what I’d find.

Thomas Dunbabin, who owned a thick purple-covered commentary on the historian Herodotus, had led the resistance against the Nazis in Crete in World War Two. Peter Levi was a poet-priest who had a chaste love affair with a woman who wasn’t his wife. Emilie Vleminckx is a student my age who conquered a blow-up at Oxford, a university she had fled to to escape her stifling life in Belgium. There was an actor in Hollywood films, a teacher in fascist Italy, a code-cracker from Bletchley Park and a boy I loved who died too young. To read the full stories, you need to buy the book! http://unbound.co.uk/books/second-hand-stories

There are, in Second-Hand Stories, some incredible tales, all of which I was lucky enough to come upon.

What surprised you most when you started seeking out the previous owners of your books?

Although I knew Classicists were an interesting bunch – we end up everywhere, from Mayor of London (Boris Johnson) to the darkest recesses of the library – I  had not the slightest inkling so many amazing lives were contained in my library. You’d have to be a great novelist with the broadest imagination to assemble half the characters that reality did. I was also surprised by how willing almost all of them – or their relatives – were to talk to me. Without them, Second-Hand Stories would have been utterly impossible.

What was the most difficult/challenging aspect of writing it?

The most difficult part of writing Second-Hand Stories was, by a long way, discovering the stories of those who had owned my book. Some were somewhat easier, having written their name and Oxford or Cambridge college in them. But others involved detective work, Google work or, frankly, guesswork.

One book was dedicated ‘To Peter, with love and gratitude, from Maurice’, where Maurice was obviously Maurice Bowra, the author of the book, a translation of the odes of Pindar (a vile toady to winners of the Olympian games). But the Peter was mysterious, until a smart suggestion from a former tutor made us look at the introduction, where Bowra had thanked Peter Levi.

Another only had the letters ‘MBMcCB’. It took several solid attacks on Google before I discovered someone else who had the same final three initials and it turned out the owner was his brother.

There was plenty of direction and serendipity in putting the cast of Second-Hand Stories together.

Any thoughts on e-books (which would have made your entire project — sadly! — moot.)

I’m not an e-book man, for a few reasons. I don’t object to the idea, but like celery and exercise, I don’t really see why I should have it. For a start, as you say, my book wouldn’t exist if we only had e-books – owners have no way of writing their names on them (if, by the terms and conditions, they even own them in the first place); they easily disappear or are wiped or become obsolete (we’ll always have the technology to read paper books, ie eyes); and you can’t have any real engagement with them (all those immaterial words on a screen have none of the heft of black ink of white paper). The physicality of books, their beauty and weight and feel, is my ultimate reason for rejecting the functional dullness of e-books.

Were there any other challenges in writing Second-Hand Stories?

Yes: getting it published. I was rejected by a great number of publishers largely with the note that ‘it isn’t commercial’. Good! It doesn’t have to be commercial – it has to be interesting. That’s why I’m thrilled Unbound http://unbound.co.uk/books/second-hand-stories believe in it. They’re a crowdfunded publisher, which means I need your support.

If you like the sound of my book, please pledge towards it here http://unbound.co.uk/books/second-hand-storiesit’s only going to be published with your help. There are rewards at each level too, ranging including signed first-edition copies, invitations to the launch party and even a private tutorial on Classics with me.

I’ve never done this at Broadside before, but love Josh’s idea and his spirit.

I hope you’ll support his book!

My two books — take a look! I also coach and offer webinars

In books, Crime, culture, History, journalism, politics, urban life, US, women on October 15, 2014 at 12:06 am

By Caitlin Kelly

Every day, Broadside adds new followers, now at 11,893. Welcome, and thanks!

Some of you don’t know, though, that I’m also a non-fiction author of two well-reviewed books about national American issues and coach other writers.

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The first, published in April 2004, is “Blown Away: American Women and Guns”, called “groundbreaking and invaluable” by one influential critic.

My goal in writing it was to approach the issue of gun ownership, and use, from both sides of the gun use “debate”.

I traveled across the country — New Orleans, Massachusetts, Ohio, Texas — to interview American women, of all ages, races, income levels and political views, whose lives had been altered forever by gun violence, (by them and/or against them or a loved one),  and those whose firearms are an integral part of their daily lives and identities, whether they work in corrections, law enforcement, the military or choose to hunt or shoot trap, skeet or clays.

Some have also chosen to buy a handgun, some carrying it with them everywhere, as their “protection firearm.”

In rural Texas, I met women who had saved their own lives with a handgun and a woman running a lucrative hunting operation on land she had inherited, land too dry and isolated for any other profitable use.

On 9/11, a woman named Patty Varone saved the life of then-mayor of New York City, Rudy Giuliani — I was the only reporter she ever spoke to about that horrific day; she was his NYPD bodyguard and her powerful story is in my book as well.

I don’t own a gun nor have any desire to — although I did a lot of shooting and weapons training, firing everything from a .22 to a Magnum 357 to a Glock 9mm. But I now know why so many American women who choose one for self-defense, or for hunting or for sport, make that choice for themselves.

In the years since, I’ve appeared many times on television and radio, from NPR to NRA radio to Al Jazeera America to BBC’s radio program, World Have Your Say, to explain — as best anyone can — the ongoing allure of gun ownership in the U.S., where an estimated 30 percent of homes contain at least one firearm.

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My second book, “Malled: My Unintentional Career in Retail”, came out in April 2011, and is three books in one: my own story of working part-time for $11/hour as a retail associate for The North Face in an upscale suburban New York mall; many stories from other associates, part-time and full-time, and a business analysis of why retail still pays so badly and treats many of its staff so poorly.

Fifty percent of those working in low-wage retail are gone within months of being hired.

They quit in disgust or are fired. No wonder — the work is exhausting emotionally and physically, the pay usually appalling, the number of hours ever-shifting and the odds of a raise or promotion to a better-paid managerial position slim-to-none.

Yet shoppers need and want smart, informed help, and an army of well-paid retail consultants line up at major conferences to yammer on about the “customer experience”. It’s a mess!

I worked the job not with any initial intention to produce a book, as many cynics alleged, but because, in 2007, the American economy fell off a cliff, and by 2009, when I quit, was deep in the throes of recession.

Like millions of scared Americans unable to find better work, I needed steady cash.

The book began with this personal essay I published in The New York Times, for whom I write frequently, and which received 150 emails from all over the world. People were clearly interested in the topic!

It was nominated for the prestigious Hillman Award, given each year to a work of journalism “in the service of the common good.”

I’d love to write more books and am often asked if I’m deep into the next one. Not yet!

These days, I’m teaching writing here in New York where I live, at Pratt Institute and the New York School of Interior Design. My writing clients include The New York Times, Investopedia and WaterAid, a global charity that took me to rural Nicaragua this March.

I also offer other ambitious writers individual coaching at $150/hour, with a one-hour minimum — (that price will rise to $200/hour in January 2015) — and webinars focused on specific topics like:

freelancing, writing personal essays and finding and developing story ideas, whether for digital, print or books.

I schedule the webinars to match your needs, working by phone or Skype, and have helped satisfied writers and bloggers from Germany to New Zealand to D.C. to Rochester, N.Y.

What can I do to help your writing?

Details here.

 

But what if you hate the characters — a la “Gone Girl”?

In art, beauty, behavior, books, culture, entertainment, film, journalism, life, movies, television on October 7, 2014 at 12:04 am

By Caitlin Kelly

 

Ben Affleck as Nick in the 2014 film, Gone Girl

Ben Affleck as Nick Dunne in the 2014 film, Gone Girl

Have any of you seen the new film “Gone Girl”?

Or read that best-selling book by Gillian Flynn?

Some readers loathed “Gone Girl” once they realize what appalling people Nick and Amy really are. We discussed it in our small book club and I was the only person to have any feeling for these two, and only really because both are such deeply damaged people.

But I came home from the film, which is 2.5 hours, worn out from how terrifyingly toxic Amy became on screen, played by Rosamund Pike, a British actress who usually plays gorgeous, flirty ingenues (as in “An Education.”) Not here!

Have you watched the Emmy-nominated Netflix series “House of Cards”? It stars Robin Wright, as a tall, lean, stiletto-strutting, icy, power-mad NGO director, Claire Underwood. She lives in a red brick townhouse in D.C. with her husband, Francis, whose own ambitions are jaw-dropping, and which — over the first two seasons — ultimately prove successful.

I watched House of Cards again recently, after binge-watching it in one bleary-eyed weekend a few months ago. It’s a real struggle to find even one character you’d choose to spend five minutes with, let alone marry, have an affair with, promote or manage. I can think of only two, really: Adam Galloway, a talented New York-based photographer and Freddy, whose hole-in-the-wall barbecue joint is Frank’s secret escape hatch. Both are used whenever helpful to Claire and Frank, and their essential humanity and warmth offer a needed counterpoint to their nastiness.

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So, what’s the appeal? Some people like to hate-watch, eagerly awaiting the downfall, literally, of that scheming, ruthless young reporter, Zoe Barnes, or the drunk young congressman, Pete Russo, or the naive NGO director Claire hires, then soon screws over.

I can’t think of many books I’ve read where I’ve been able to sympathize with or remain compelled by a difficult, nasty, ruthless character — and there are plenty out there!

Oddly, perhaps, one of my husband’s favorite books, and mine, is non-fiction, “My War Gone By, I Miss it So,” by British journalist Anthony Loyd, who spends much of his time in that narrative addicted to heroin — but the rest of it covering war, and doing so brilliantly.

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I also loved, (and these are very dark books!), the Patrick Melrose novels, whose characters are almost all truly horrible. They’re written by Edward St. Aubyn, also British, and offer some of the most powerful and best writing I’ve read in ages. He, too, was addicted to heroin, and one book in the series — impossibly grim — details his life in those years.

Can you read or watch — or enjoy — fictional or non-fictional characters who disgust and repel you?

Why “I hated it” doesn’t count as cultural criticism

In art, beauty, behavior, books, culture, design, film, photography on July 19, 2014 at 12:11 am

By Caitlin Kelly

Early this week, a Broadside reader — thank you!! — generously gave me a ticket to see Elena’s Aria, a work from 1984 by Belgian choreographer Anne Teresa De Keersmaeker at the Lincoln Center Festival, an annual event.

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The auditorium was packed and I saw many dancers sitting around me, some leaning forward in their seats. The piece was an hour and 45 minutes in length, with no intermission and if you left, you would not be re-admitted.

Commit or else!

I didn’t hate it, but it was a challenging piece in a number of ways:

— It was really long

— It was very repetitive

— Much of it was performed in silence

— Much of it seemed to focus more on movement than pure dance

– It included black and white vintage film footage of buildings being dynamited to shards

I was very curious to read the New York Times’ review:

Made in 1984, it was her first dance to use spoken text and film. The program note describes it as a result of self-questioning, a search for a way forward. And on Sunday at the Gerald W. Lynch Theater, when it was performed in New York for the first time since 1987, that’s what it looked like: the work of a young artist who has hit an aesthetic wall and hasn’t yet discovered how to get past it…the overall impression of the work is less of emotional implosion than of expanding boredom. At the end, the women, seated in chairs, cross their legs and run their hands through their hair as part of a Mozart piano sonata plays…As drama, the dance cuts off empathy, but as these women fidget, you know exactly how they feel.

I’m glad I saw it, even if I didn’t love it. I was around the same as the choreographer in 1984 and, like her, had had some terrific early professional success. I remembered what that felt like.

I remember 1984.

I’ve only walked out of one play, as its themes were simply too painful for me personally. And I walked out of the terrifying film The Exorcist as I couldn’t take it.

Generally, I stick around. (Not a boring or poorly-done book. That takes up too much time!)

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One reason is that I know what it takes to create a work of art or literature or dance or theater — usually years of training and rehearsal and guts and time and money and ideas and financial backing. Even if the result is atrocious, and it can be, it’s also the result, in many cases, of tremendous effort.

I don’t need to love everything I read, hear, see or listen to as long as there are some useful or intriguing ideas within it. Nor does it have to be quick or short.

It just has to make me think.

How about you?

How do you respond to art or cultural works that make you uneasy, uncomfortable or bored?

20 more things that make me happy

In beauty, behavior, culture, domestic life, life, nature on July 4, 2014 at 12:10 am

By Caitlin Kelly

Hearing a loon call — and it’s someone’s ringtone

Touring an Ontario heritage site hosted by a young ranger, D. Fife, whose mother is Ojibway and father is Scottish — classic Canada

Scoring a gorgeous teapot at auction

$31. Score!

$31. Score!

Paying a lot of tax on vacation purchases in Canada — knowing that it helps to pay for cradle-to-grave health care for everyone there and supports Canadian students’ $5,000/year college tuitions.

The scent of sun-warmed dried pine needles

The sun back-lighting a garden, iris glowing

Sitting very still in an Adirondack chair watching Lake Massawippi

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Hearing French spoken all around me, and on the radio, and speaking it myself

A bacon, lettuce and tomato sandwich on toasted whole wheat bread, with mayo

Stocking up on Big Turks

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Floating alone in a swimming pool, motionless and silent

Eating butter tarts,  peameal bacon and smoked meat while home visiting Canada

Reading a terrific murder mystery set in the Eastern Townships, with a chapter that begins “‘Tabarnacle,’ whispered Beauvoir.” Quebec slang! Written by a former Canadian journalist living within a few miles of where I was reading her work

A very good professional massage

Huge squishy pillows covered in soft white cotton

Driving through Vermont in the rain listening to U2’s Joshua Tree

Awakening to birdsong

A pretty new cardigan in ballet-slipper pink at Ca Va De Soi, a knitwear firm with shops in Ottawa, Montreal and Toronto — and also soon online

Feeling so well-loved by dear old friends who welcome us back into their homes, year after year

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A badly-needed 10-day vacation — then returning to multiple freelance assignments and teaching gigs

Bonus: Having two countries I’m legally able to belong to, and to work in: Canada, where I was born and raised and the U.S., where I have lived since 1988 and am lucky enough to have a “green card”. I get to celebrate my two countries in the same week each year –

Happy Canada Day! (July 1) and Happy 4th of July!

Two sets of fireworks!

 

 

 

Buy my books! (The gentle art of self-promotion)

In blogging, books, business, culture, journalism, US, work on June 16, 2014 at 12:43 am

By Caitlin Kelly

malled cover HIGH

Here’s an interesting discussion, from The New York Times Book Review, about whether or not authors should run around promoting themselves and their products books.

Here’s James Parker on why it’s such a bad idea:

She must explain herself. He must sell himself. To a gifted minority it comes naturally; to the rest, it really doesn’t. Hence the tremendous awkwardness that often attends these sorties into the national mind. Author photos, for example, are invariably ghastly: pouting, bedraggled or staring down with blazing eyes from the spire of genius, the author is basically saying (or trying to say): “Trust me. I’m worth it.” As for media appearances, any interview in which the author doesn’t swear uncontrollably or break into loud sobs must be considered a public relations triumph.

Having written two non-fiction books, one before the age of social media – “Blown Away: American Women and Guns”, published in 2004 — and Malled, in 2011, I’ve been around that block.

He’s right.

People who choose to write for a living generally prefer to withdraw into their own heads and work at their own pace.

If we were super-chatty extroverts, we would have gone into PR.

If we really loved having our photo taken or being witty in two-minute soundbites, we would have chosen a career in television. Trying to boil down nuance into seconds is difficult and scary as hell — and I’ve done a fair bit of television and radio promotion for my books, whether BBC radio and television, NPR or Al Jazeera America.

And “the public” can be brutal, (see: amazon “reviews”), ignorant and brutally ignorant of what it takes to even get a book commercially published. Authors often get asked to speak at someone’s lunch or alumni group or women’s club, unpaid.

Yet if your book sells poorly — fewer than 10,000 copies — your odds of an agent repping you, or any publisher touching  your next attempt shrivel very quickly.

So we feel compelled to sing and dance and do blog tours, even if that’s about as appealing as gum surgery.

Here’s Anna Holmes taking the opposite view:

Book promotion can offer a feeling of agency for authors trying to find their way in an industry that can seem otherwise fickle, opaque and unmeritocratic…

And the readers, really, are where it’s at. There’s nothing more rewarding than taking — or making — opportunities to connect with potential readers face to face or, thanks to the rise of the Internet, pixel to pixel. In fact, I consider book promotion as much of an obligation as proofreading a manuscript. Writing is, in itself, an act of engaging with others, of seeking connection over mere expression. If you were to put a book out into the world, which would you rather have — conversation or silence?

Holmes is being super-polite; “unmeritocratic” is Times-speak for:

How did that piece of shit ever find a publisher?!

I have two friends who head the publicity departments of two major American publishers. I love them as friends, but to hear their insiders’ view of this business is blood-chilling. One told me recently she read a proposal so incompetent she said, “Not a chance.”

Yet the house bought it for a lot of money, because the writer already has a huge following for her website — i.e. demand for her product.

I was intrigued when I started to follow writer Sarah Salway’s British blog, Writer in the Garden, and decided to follow her on Twitter — and read the bio’s of the many highly-accomplished UK writers she follows. Their self-presentation was almost uniformly witty and self-deprecating, a style I used to employ when I moved from Brit-inflected Canada to the U.S. — and to chest-thumping New York City, aka Braggarts ‘r us!

If you’re shy and quiet and reserved about your work here, hang it up kids, because you’re probably going to stay invisible and powerless.

In our noisy, crowded, you-only-get-six-seconds’-of-my-attention culture, introverts can have a tough time getting their books attention, reviews and sales.

I have to say, on balance, I side with Holmes. I’d rather initiate a convo with my readers than sit around waiting for someone to find my books.

12 things you should never say to a writer

In behavior, blogging, books, business, culture, journalism, work on May 29, 2014 at 12:51 pm

By Caitlin Kelly

I know that many Broadside readers work in education — have you seen The 12 Things You Should Never Say to Teachers?

Here are 12 things you should never say to a writer:

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How much money do you make?

I get it — you want to be a published writer, too — and are naturally curious about the rewards. But  most book advances are now paid out over as long as four years — minus 15 percent to our agent — and the average book advance is pitifully small to start with, far less than $50,000. Do the math, and weep.

And because journalism pays so badly you just can’t believe anyone would actually work for those wages. But we do.

There is also so little direct correlation between work we may value intellectually — and what the market rewards most handsomely. (See: the best-seller list.)

Wow, that’s not very much, is it?

See above. While a few fortunates are pulling in mega-bucks, the highest-paid print journalists usually earn less than a fresh graduate working for a major corporate law firm. Sad but true.

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Are your books best-sellers?

Long bitter laugh. Only a minute percentage of books, on any subject, will ever hit the best-seller list.

Can you introduce me to your agent?

No. Maybe. Probably not. The agent-author relationship is intimate and fraught with multiple perils. It’s also a question of chemistry — the person who’s a great fit for me may be a lousy choice for you.

I’ve never heard of you

Here’s a sad little essay by Roger Rosenblatt on how un-famous he feels, even after publishing a few books. (You’re thinking: Who’s that guy?) The only way to survive the publishing world is to assume that your book(s), even after all your years of hard work and promotion, will largely be ignored by the public and bookstore buyers. Anything beyond that is gravy.

Will you read my manuscript?

What’s your budget? Assuming we want to read your work, unpaid, is naive.

This is what we do.

This is what we do.

Can I see the article you’re writing before it’s published?

Nope. Journalists get asked this all the time and the only correct answer is “No.” If you’re in doubt about the accuracy of a quote or some data, call your source(s) back. But allowing someone to review your copy opens the door to their desire to rewrite it to their tastes.

If I don’t like what you’ve written, I can ask you to remove my quotes, right?

See: on the record.

When I stop (doing whatever you do professionally), I’m going to take up writing

Awesome. Now go away! No, further.

Nothing is more irritating (OK, deadbeat publishers are more irritating) than having people treat our profession as an amusing hobby, something you can pick up and put down at leisure, like macrame or scrapbooking. It looks soooooooooo easy, right?

Wrong.

Writing well is bloody hard work. It’s not something you just “pick up.”

Journalism is a dying industry.

Indeed. Imagine how I feel after 30 years in it…

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I hate journalists! They never get anything right

Same with doctors, lawyers, teachers…fill in the blank.  It’s a big industry with some bad apples and some good ones. Don’t assume I’m unethical or inaccurate just because you’ve been burned by someone else.

You can’t make a living as a writer!

Define “living.” Your assumptions or prejudices may be inaccurate. Or your idea of “a living” means $300,000 a year before bonus. In which case, you’re right!

The (latest) book I just couldn’t finish…

In behavior, books, culture, journalism, Media on May 25, 2014 at 1:43 am

By Caitlin Kelly

 

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Gah!

The fines alone for keeping this book out of library too long — I could have bought it.

And, too ironic, the title: The Sense of an Ending by Julian Barnes.

It’s not even a very long book. I tried!

I just didn’t care about any of the characters. I didn’t find the plot, such as it was, compelling. Nor was the writing especially beautiful.

And it won the 2011 Booker Prize. Oh, well.

I just saw a friend’s post saying she couldn’t finish Donna Tartt’s latest, The Goldfinch.

I’ve tried several times to penetrate Bel Canto, by Ann Patchett and gave up.

Yet I am still slowly reading, and enjoying, Atonement by Ian McEwan, one of my favorite writers and recently (somewhat) enjoyed The Woman Upstairs by Claire Messud.

I put off for years reading The Master and Margarita by Bulgakov, but couldn’t put it down and loved it.

What book(s) have you simply given up on halfway through — and why?

Moomins!

In books, children, culture, design on May 17, 2014 at 12:08 am

By Caitlin Kelly

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In the interest of pure silliness, for those of you yet to meet them, here are the Moomins, a series of nine books by Finnish author Tove Jansson, published between 1945 and 1993.

The stories revolve around a large family of Moomins — who look a little like hippopotamuses — and their quirky friends and companions.

If you fly Finnair to Japan, your plane’s livery may sport Moomins; even the President of Finland has been seen wearing a Moomin watch.

Japan recently opened a cafe where you can — of course! – share a table with a very large stuffed Moomin.

Here’s a recent story from the Financial Times, reviewing two biographies of their creator:

It was only when the third volume in the series, Finn Family Moomintroll, came out three years later in 1948 that the Moomins begin their ascent to international fame. By the 1960s Jansson’s creation was manifesting as TV cartoons, stage plays and a bewildering range of licensed merchandise. There were picture books and also a widely syndicated newspaper strip, which Jansson wrote and drew herself before handing over responsibility to her younger brother Lars.

The Moomins remain big business. All the books are in print and sell healthily. The Finnish city of Turku boasts a theme park, Moomin World, where you can visit the characters’ houses and have your photograph taken with actors in costume. There is even a shop in London’s Covent Garden peddling nothing but what one might call “Moominery”.

The stories have also exerted an influence on many modern writers, for adults as well as children. Ali Smith, Jeanette Winterson and Maggie O’Farrell are self-professed Moomin fans. Philip Pullman has called Jansson a “genius”…

After I mentioned my Moomin-love to Jose, my husband bought me two Moomin books for Christmas, and this great mug, from which I drink my tea and coffee most days.

How can you feel gloomy with a Moomin in the house?

And guys — check it out! — there’s a 40 percent off sale this weekend at this site, with everything possible Moomin-related.

Do you (still) have a beloved children’s book or character in your life?

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