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Five Favourite Newsletters

Published on December 29, 2019December 31, 2019 by gronyaLeave a comment

Newsletters, Tiny Letters, SubStacks, whatever you want to call them, I love getting these updates from people’s lives in my inbox. I’ve always loved email. I subscribed to so many mailing lists in the pre-social media days of the internet that email was how I first got to know people online. Email is still the first thing I open when I sit down at my computer.

A good newsletter can feel like a great secret and it feels a little bit odd to be talking about my favourites out in public like this. Maybe it’s because they are sent directly to me and that makes them seem private and personal, or maybe because they remind me of the early days of online journals when every newly discovered site felt like it belonged to me alone. But I like sharing the things I love, and I can console myself with the fact that very few people read this blog, so they will remain mostly secret!

These are five (plus one bonus one) of my favourite free newsletters.

1. Patelagrams
Vinay Patel is a screenwriter and playwright who sends out a weekly newsletter that’s mostly about his writing life and a little bit about his cats. I really enjoy reading about how writers write and he also writes well about the things he’s seen on stage and screen. He writes for theatre and tv and I like reading about the differences between the two processes, and about the next stage, after the thing is written and handed over to the directors, designers, actors, etc to become something more than words on the page. The newsletter provides a good insight into the day-to-day life of a busy, working writer who is juggling lots of things – bits of teaching and mentoring, seeing work performed, meetings, writing deadlines – and what that looks like, or more accurately, what it feels like from the inside.

2. The collected ahp
Anne Helen Peterson wrote one of my favourite essays this year – How Millennials Became the Burnout Generation and she also writes this regular newsletter. I really enjoy her writing so I’d probably read it no matter what she was writing about. As it happens, she is currently writing a book on burn-out and her newsletters are often about her own experience/recovery, which is interesting to me. She also includes a great selection of other things worth reading around the internet.

3. Jimsy Jampots
Amy Jones was a writer for The Pool until it folded last year and I subscribed to her Tiny Letter because of her writing there. She used to send out a regular newsletter that I looked forward to every Thursday. I don’t think she ever missed a week! The newsletters are less regular now but they haven’t stopped and I still enjoy them when they appear in my inbox. The style is a personal “what I think” section, some recommended reading from around the internet and also a curated list of things to buy, from dresses to notebooks, novels and necklaces. I have bought things receommended by Amy on more than one occasion but I also just really enjoy her writing.
She has also written a book called To Do Lists and Other Debacles.

4. That’s What She Said
Anne T Donahue’s is one of the first newsletters I subscribed to and still one of my favourites. She has a wonderful, chatty, informal style which reminds me of old-school blog posts. She tells you where she’s writing from and what’s she’s been up to, but also writes a lot about trying to figure out life and is very frank and open about how difficult that can be. She sometimes answers readers’ letters, Agony Aunt style, and every newsletter includes pet peeves and sources of joy provided by subscribers. I often feel like I have a better understanding of the world after I read her newsletters. This feeling is often fleeting, but I enjoy it while it lasts!
Anne also has a book out – Nobody Cares.

5. Can’t complain
Emily Gould is a writer living in New York with her husband and two small boys. I read her novel Friendship a few years ago and signed up for the newsletter because I like her writing. They are occasional treats that give me a glimpse into a life that is very different to my own and that’s why I like them. There was one a few months ago that just gave me such a rush of nostalgia for the descriptive, serious blogs I used to read a lot of in the late 90s/early 00s. She also often includes recipes.

Bonus – Criticism and Love
These were a series of critical essays written with love by Maddy Costa and Andy Field. They were dense, nerdy writing about (mostly) British theatre makers. There are no new essays coming, for now, but the archive is still online.They remind me of things I read in college when we were often taught about theatre practioneers we would never get to see and that we could only experience through someone else’s description. I like reading about theatre and I like seeing how other people write about it. Each essay is an indept look at the work of one company or indivdual. I think it’s a lovely thing to do for theatre makers, to collect their work in this way and share it with others. (The theatre makers might not agree.)

Tana French in conversation

Published on July 15, 2019 by gronyaLeave a comment

In May I saw Tana French being interviewed by Anna Carey in Smock Alley. The event was part of the International Festival of Literature. I am a huge admirer of her writing but I’d never heard her speak about it before so I was really looking forward to the event. She didn’t disappoint.

Tana French is an award-winning, best-selling Irish crime writer. In 2007, her debut novel In The Woods was published to critical acclaim and became an award-winning best seller. I wasn’t aware of her books until 2012 when I was introduced to her writing by an American friend. French’s novels have spent many weeks on The New York Times bestseller lists and is maybe better known in the US than she is here.

The friend who told me about Tana French was a fellow drama student in Galway. At the end of the school year, when she was getting ready to head back to the States, she mentioned that one of her favourite authors had a new book out that she planned to buy for the flight home. She was saving this book and looking forward to enjoying it during the long trip. A few weeks later I moved home and was stuck in that mild post-graduation depression/identity-crisis when you’re not a student anymore but you haven’t figured out what the next stage of your life looks like yet. I remembered my friend’s enthusiasm for an Irish author I’d never heard of and went looking for Tana French in the library. I found her first novel In The Woods and promptly did nothing but read it for the next few days. I loved it. I kept going, working my way through her books and recommending them to anyone who asked.

Tana French’s crime fiction almost always involves a murder that is investigated by the Dublin Murder Squad. Her books are brilliant whodunits but what makes them so captivating are her characters. French was an actress before she was a writer and she has a wonderful skill of inhabiting characters and bringing them to life. Although her books are all based around the Murder Squad, the main character and narrator of each book is different.

In Smock Alley, she talked about her decision not to write a traditional series centred about a single detective because putting a different character at the centre of each book, allowed her to encounter that character at a major turning point in their lives or working on a case that had a special significance to the character. She felt that this would be hard to do if she always had the same protagonist. One person’s life can only sustain so many major turning points. It also makes for a much more interesting and revelatory reading experience. Her characters might not always be the self-reflective sort, but as a writer she skillfully reveals things about the way they see themselves over the course of the book.

Listening to French talk about her work, it’s clear that the characters are always central to the story. She is very articulate and passionate in the way that she talks about her work. One of the most fascinating things I find about her writing process is that she doesn’t plan; she says she doesn’t do any major plotting, she just writes blind. I find this impressive because her books are tightly plotted, as any mystery or crime novel has to be. She says she achieves this by doing lots and lots of rewrites.

Tana French started writing when she got an idea for a story while working part-time at an archaeological dig. She was a jobbing-actor at the time and this was a day-job between acting roles. She realised that she was serious about the book when she started turning down acting work so she could focus on writing her own story instead. That book became In The Woods. Comparing writing to acting, she says that she loves writing because she doesn’t have to wait for someone to give her a job, she can just do it herself. She is very enthusiastic about writing for a living, while still acknowledging that there comes a difficult point in every book when she wants to quit and go back to being a broke actor.

She still has an affinity with actors and the difficulties that they face finding work. This came across when she talked about the upcoming tv adaptation of her first two novels. She seemed genuinely delighted that the show was providing work for Irish actors. The show, Dublin Murders, stars Killian Scott and Sarah Greene, and is written by Sarah Phelps who has a couple of very good Agatha Christie tv adaptations under her belt. (And There Was None and The Witness for the Prosecution.) French said that she decided not to have anything to do with the tv adaptation when it became clear that it was not going to be a straight translation of the books – the 8-part tv series will feature the investigations from In The Woods and The Likeness – and decided to let it be a thing on it’s own.

She also talked about her most recent novel The Wych Elm which is a departure from the previous books because it is not set within the Dublin Murder Squad. Instead it follows Toby, a privileged young man who has been lucky all his life, until one night when he is the victim of a violent crime. Toby is young, male and good looking. He’s charming and intelligent and comes from an upper middle-class background. He’s not a bad guy but he has trouble understanding that not everybody’s life is as charmed or easy as his. He’s a fascinating character. During the Q&A portion of the evening, someone asked a question about a writer’s right to inhabit another gender and to say less than flattering things about that gender. I was very impressed with French’s response as she side-stepped the veiled attack and instead focused on the fact that Toby’s privileges, and by extension his character and short-comings, are only partly about gender, they are much more about class. She said that nobody really wants to talk about that though.

As well as being character-driven, French’s novels also have a very strong sense of place. She talked about her nomadic childhood, that moving around a lot made her feel a bit of an outsider, but was good training for a novelist. She came to Dublin for college in the 1990s and since then it has become her home. She spoke movingly about finding a home in Dublin after moving around so much. Her affection for Dublin and for that feeling of belonging came across strongly in the interview and is also in her fiction. Her characters are very much of the places they’re from. She also creates beautiful buildings in her fiction such as the shared house in The Likeness, the Ivy House in The Wych Elm or the school in The Secret Place. She seems grateful for having a place that feels like home, that she knows so well, and the beautifully created places are almost a thank you to Dublin for giving her that. The books are so rooted in Dublin and Ireland. Despite her international readership her characters tend to speak Hiberno-English. They always feel very Irish and that clear sense of place contributes to the enjoyment I get from her books.

Throughout the interview gives the impression of being a very dedicated, hard-working nerd. She is enthusiastic about her work and clearly enjoys it but it also feels like she knows how lucky she is to get to do it and doesn’t want to mess that up. She does lots of research and lots of rewrites. She wants each book to be different from the last, for her own sake as well as the readers. This dedication to her craft comes across in her writing – as a reader, you feel like you’re in safe hands within her pages.

She plans to continue to challenge herself and wants to write a short book next, something like Donal Ryan’s The Spinning Heart, just to see if she can tell a story in that sort of condensed way. I wish her every success, and I look forward to reading her next book, no matter what size it is!

Currently reading: feminist literature

Published on May 3, 2016October 11, 2016 by gronyaLeave a comment

Over the last year and a bit I’ve been reading a lot of books about feminism. Partly as research for a thing I’m writing but mostly just because I’m interested. (This is also why I’m writing about it!)

Here is a short round-up of my feminist reading list.

The Female Eunuch, Germaine Greer

Germaine Greer’s feminist manifesto seems to me to be the grandmother of all feminist texts, the one that started the second wave of feminism. First published in 1970, it attempts to cover all aspects of being a woman under the headings Body, Soul and Love. This edition was published in 2006 and includes a new foreword by Greer about what the world is like for women at the beginning of the 21st century.

I didn’t find the book as informative or as an inspiring as I’d hoped. The second wave of feminism is a movement that I’m very familiar with which meant it felt more dated than revolutionary. It’s very much one-woman’s view of the world and how women should think and behave, it’s a bit too academic and a bit too bossy for my tastes.

The added extras at the back include a essay by Elizabeth Wurtzel called The New C-Word, which I did find interesting. It condemns the notion that feminism is all about choice; that anything a woman chooses to do is a feminist action. She writes “To say anything goes, feminism is whatever you believe it is, not only renders the movement meaningless but also amounts to a demand for rights without responsibility…We don’t have to respect everyone’s choices and we do have to say to certain women that they are behaving like idiots, that their choices are not good enough for a feminist world.”

The Guardian recently listed The Female Eunuch as one of it’s 100 best nonfiction books, they obviously liked it more than I did!

The Feminine Mystic, Betty Friedan

The Feminine Mystic was first published in the 1963 but to me, it felt more relevant and contemporary than The Female Eunuch. I liked the fact that there was so much research behind it. Fifteen years after they graduated, Friedan sent an intensive questionnaire to her college classmates. She got responses from 200 women. She also interviewed 80 women and analysed popular media, namely women’s magazines. She looked at how women are described in these magazines, in articles and in fiction, and what that says about how women are perceived by society. Similar studies done today look at female roles in tv and film, such as the fascinating Largest Ever Analysis of Film Dialogue by Gender.

Frieden coined the phrase “the problem that has no name” for the yearning and dissatisfaction that American housewives felt in the 1950s and 1960s. This problem often manifested itself in physical as well as psychological symptoms. These women got married in their early twenties and were constantly told, particularly by advertisers, that being a wife and mother was the most worthwhile thing they could possibly aspire to. Friedan’s descriptions of how home-making was marketed to women in the 1950s reminded me of the early Noughties when domesticity was very much back in fashion. Women were sold an idealised cupcakes-and-crafts version of femininity and the Domestic Goddess was (re)born. The battle for equality seems to be circular. American women found a place outside the home during WW II but afterwards they were aggressively encouraged to go back to being a housewife. The cult of domestic goddess was a reaction to the 80s Career Women and the Ladette of the 90s. Even in the early Irish State, after women played key roles in the trade union movement, the Easter Rising and the War of Independence, once freedom was achieved De Valera’s government sent them swiftly back into the home, literally writing it into Article 41.2 of the constitution. A lot of work has gone into keeping women in the home over the years.

Girls Will Be Girls, Emer O’Toole

At last, a book that’s about my own country written during the present century! After reading books about feminism in different countries and different times in the past, it was wonderful to read about an Irish woman’s experience, particularly someone around the same age as me, who has had similar experiences. This really is unusual and revelatory. Women are uniquely skilled at putting them into the place of the person they are reading about – even if they are very different. We’re good at it because books are mostly written about people who aren’t like us. It’s a much more satisfying experience to see your own experiences reflected back at you through someone else’s eyes. For any Irish woman, this book is work reading for that alone.

There are lots of other great reasons to read this book. It’s written in a more populist way than the more academic texts on this list. In a way it’s a beginners guide because it charts someone coming out as a feminist and realising the need for feminism, which the other books don’t really do.

It’s also very very funny. There aren’t a lot of laughs in the two previous books but O’Toole will have you snorting with laughter and at the most inappropriate things. For a little taster, read her piece about not shaving. But between the laughs there’s also some excellent information, such as also this mind-blowing bit of info about the clitoris.

“Shockingly, the clitoris remains either misrepresented or omitted in much contemporary medical literature, including many of the anatomy textbooks used to train doctors. In spite of the pioneering work of the urologist Helen O’Connell in the nineties and early noughties, the first 3D model of the clitoris wasn’t made until 2009. So, to put that in some kind of perspective: modern science authoritatively mapped and made models of the human genome before it adequately described or modelled the clitoris.”

It angers me that science and medicine plays so little attention to the female body. To the extent that car test-dummies are always male so they only examine what happens to the male body in a collision (and extrapolate that the same would happen to a woman. It wouldn’t. Our bodies are different.). I think it is shameful that women’s bodies are treated like this. Doctors still don’t really know what causes endometriosis even though 1 in 10 women suffer from it and there is still a lot unknown about the menopause, which all women will go through.

Bad Feminist, Roxane Gay
This is not really a book about feminism. It’s a book of personal essays with a provocative title but it certainly delivers on that title. Elizabeth Wurtzel’s essay on The New C-Word was about calling out women who’s “choices are not good enough for a feminist world”. Gay’s book gives you permission to be that person. Nobody is perfect and everyone makes bad choices now and again.

Roxane Gay is a great writer and here she writes persuasively and engagingly about a host of different topics including gender, race, rape culture, women in popular culture and competitive scrabble tournaments. I found her writing about race and popular culture particularly enlightening. This book should be required reading for Gerry Adams and his ilk. It’s book that made me see the world differently, and while Gay writes critically about popular culture, she is also very enthusiastic about the things she loves. I find her very likeable from her writing. She’s also good fun on twitter. It is one woman’s view of the world, but instead of attempting to say that this is the way it should be for all women, these are personal essays that only aim to show one person’s experience of the world. It’s a more inclusive way of writing.

That’s some of the books I’ve been reading in the last year. Some upcoming feminist books that I am looking forward to include Lindy West’s Shrill and Laura Bates’ Girl Up. Both women are in Dublin this month to talk about their books and I’m looking forward to seeing them live as well. I’m always interested in recommendations of good nerdy, feminist books so if you have suggestions, please let me know!

Them the breaks

Published on November 5, 2015October 11, 2016 by gronyaLeave a comment

[This is long and a little bit rant-y and I still didn’t include half the things that have flitted across my brain over the past week. If you’re short of time, skip to the end where I have included a few suggestions towards action. Also, I am aware that it’s not just women who are discriminated against in the arts, and in the world at large. Theatre is dominated by middle-class, white, able-bodied men. I’m writing about discrimination against women because that’s what I know, and because I want to add to the conversation that’s happening and keep up the momentum that has built over the last week. I expect/hope that getting more women in positions of power will help to open the doors to all, particularly because women have experience being the Other and the Outsider.]

Because I’m still on my holidays, I haven’t been spending as much time in front of my computer as I usually do. I saw the reactions to the Abbey’s Waking The Nation announcements on Twitter before I read anything from the Abbey. And maybe because I’m in holiday mode (ie had a few glasses of wine), I didn’t pay much attention to it. There’s nothing new about women being ignored by the big arts institutions. The Abbey isn’t even the worst of them – at least they included a few women. You have to go a long way back to find the last time the Gate staged a play written by a women. But then the discussion didn’t go away. There were more comments on Twitter and conversations on Facebook. I realised I needed to take a closer at this before weighing in with an opinion.

I went to the Abbey’s website and looked at the programme and I read the press release and then I got angry. The more I read, the angrier I got. The programme is described as “an exciting roll-call of new Irish voices alongside major revivals of the some of the great plays from the Abbey Theatre repertoire”, but doesn’t include a revival of a great play by a woman and those new Irish voices are almost all masculine. In 2015, that is a disgrace. I am particularly disappointed that all the revivals are by men. This suggests that nothing written by a woman in the last 110 years was deemed worthy of inclusion. Then Fiach’s comments on Twitter just added insult to injury. He said he programmed the things that spoke to him, and they just happened to be all written by men. That’s just not good enough. When you are the Artistic Director of the National Theatre with €8 million of taxpayers money to spend, you should feel obliged to include the voice of half the population, even if it isn’t to your personal taste.

Pointing out sexism is a bit of a hobby of mine. In my experience when you tell people they are being sexist they get defensive. The Abbey was no different. While defending this bit of blatant sexism, a lot of the blame was thrown back at women – there was the suggestion that if they were good enough, they would have been included; that the plays weren’t ready and it would be unfair to the playwright to stage them; that there were just more good male playwrights to choose from. The other thing that surprised sexist-deniers do is point out all the things that they have done for women. In Fiach’s tweets he listed the plays by women that have been programmed since 2008 (all nine of them, three by Marina Carr) and the female to male ratio of the New Playwrights Programme (13 out of the 24 writers were women). It’s always the same – sexists will blame women or deny the sexism is happening. Nobody has ever turned around to me and said “oh, you’re right! I hadn’t noticed. How did we let that happen?”

Because I don’t think it was done on purpose. I don’t think Fiach is intentionally or maliciously keeping women off the Abbey stage but I do wonder if he didn’t notice the lack of female voices or just didn’t think it was important. If I was feeling generous I might say that it’s understandable not to see this lack of women as something unusual or unacceptable. For a long time, leaving women’s voices out of public discourse was the norm. We live in a patriarchal society and those attitudes are ingrained at every level and in every aspect of our society. Patriarchal attitudes are insidious, they are so deep in our brains that we are mostly unaware of them. That’s why we have work against those unconscious attitudes and biases.

This means that, if you think there are no suitable plays by females writers that fit into the big centenary programme at the National Theatre – try harder! Find the one you dislike least or spend more time discovering and working with female writers until you find one you do like – don’t just shrug your shoulders and say “Them the breaks”. That’s not good enough. You need to do more. Some might say that’s not fair – why should they spend more time working with women or cultivating female talent? If it’s all about equality, then shouldn’t the women be treated exactly the same as the men? But the cards have been stacked against women for centuries and because of those insidious patriarchal attitudes women still aren’t regarded the same as men. We need to take the time and effort to balance the scales. And now is the time to do it.

Quotas

The mere mention of quotas tends to makes people uncomfortable. I understand that, I used to feel the same way. But as I saw how how slowly things are changing – sometimes the change is so slow if feels like we are going backwards -I changed by mind. I’m impatient; I would like to see a more equal society within my lifetime and I think quotas are necessary to make that happen. Change is uncomfortable, so the fact that quotas provoke that response means they must be a good thing.

People are against quotas because they are afraid they will allow unworthy women to get things that should have gone to more deserving men. My instinctive response to that is; I don’t care! Again, it’s about balancing the scales. If quotas move us towards gender equality, then the risk of hiring a few under-qualified women is one I’m willing to take.

I also think that the chance of that happening is really small. There are loads of very talented, very capable women out there who are not getting the breaks they deserve because our patricachical society favours men and has done for centuries. There are loads of statistics that prove that this bias against women exists. If you believe that there are less women in politics or running companies or making work for the Abbey stage because they are just not good enough, you are dismissing a long history of sexism and you need to read up on the subject. Or you know, just believe women when they talk about their lived experience of sexism. The #WakingTheFeminists tag on Twitter is a good place to start. And if you think any woman who gets a place at the top table after the introduction of quotas is not going to work incredibly hard to prove that she belongs there, you obviously don’t know that many women.

In order to see make real change in gender equality in the arts, I believe we need quotas and that they should be linked to funding. Either the programme is 50% female, or you don’t get the money. That would speed up the rate of chance! As a kindness to those who can’t cope with the word quotas, we can refer to them as targets instead. This is what the film funders did in Sweden. When Anna Serner became CEO of the Swedish Film Institute in late 2011, she announced that by the end of 2015 Sweden would seek to have equal gender funding in all productions – the first country in the world to do so. At the time of this announcement, 26% of funding went to female directors. That was almost doubled and they reached their target ahead of schedule in a mere two and a half years. Targets work and it would be wonderful to see that sort of commitment from the Arts Council of Ireland. That’s my big pipe-dream plan for change. Here are a few other smaller suggestions.

Actions towards change

1. Go and see work made be women.
I’ve already talked about #FairPlayForWomen here. There’s also a Facebook group and a calender of events with lots of suggested shows.

2. Open Space meeting.
I love the conversations and sharing of personal stories that’s been happening on Facebook and Twitter over the last week. I’ve felt very connected and engaged with the Irish theatre community over the last week. So many voices saying the same thing makes it clear that this is not a small issue and it’s great that those voices have been amplified by Lian Bell. (This article is a good summing up of things that have been said already.)

Now we need to meet in the real world and start making plans. (No doubt this is already in the pipeline.) I think we should do this in an Open Space meeting on the theme of gender equality, something similar to the Devoted & Disgruntled meetings that happen in London each January. Theatre Forum have also hosted Open Space events around the country, though generally without a theme. I’ve been to a couple and I think the form would really suit this discussion. The agenda is set by those in the room, but everything is recorded for those who can’t attend. Actions are agreed on for each topic and a person is chosen to get the ball rolling, and keep it rolling.

3. Riot at the Abbey.
In her piece for the Irish Times, Una Mullally suggested it’s time for another riot at the Abbey. I’m not sure how I’d feel about walking out of or disrupting a theatre performance. It would feel disrespectful to the actors and other artists, as well as the audience. Am I too timid for this revolution? I suggest a picket line outside the theatre on opening night instead.

4. Theatre of Change Symposium
In response to Una Mullally on Twitter, Fiach said that women will be represented in the Theatre of Change Symposium in January. I really enjoyed the Symposiums over the last couple of years and I’m looking forward to the next one. But anyone included in that programme will get at most 90 minutes to speak to a fairly niche audience. (It’s more likely to be a 20 minute presentation, followed by a Q&A.) It’s not the same as a 4-6 week run on the Abbey stage. I think Gender Equality needs to be a topic included in the symposium. At this stage, it feels like the least the Abbey could do.

In the meantime, we will keep shouting about it. We will remind everyone that this is not acceptable behaviour. It’s time to stop feeling unsurprised and start feeling outraged. We have to keep talking until we are listened to. Hopefully nobody will have to throw themselves in front of a horse this time before that to happens.