The Latest Stinging Fly has ...

... loads of poems, dark stories and some reviews too.

Liz Gallagher's The Wrong Miracle gets a good look-see by Grace Wells - her 'linguistic dexterity' and the 'sheer verve of her style' is mentioned; this comes alongside five other worthy first collections.

Highlights for me: 'Road Trip,' well-written non-fiction (although it had me completely absorbed in the way that fiction usually does) by Robert Hopkins; an interview with Deirdre Madden and two fine poems that sat well together - 'A Little Knowledge' by Val Nolan and 'Grapefruit' by Alan Garvey.

But hey, don't take my word for it: go get your own copy of the Stinging Fly, why don't you.

And the cover - so, so sumptuous - and red! I like.

Nude Makes Landfall in Dundalk

Got your attention, haven't I?

Today, I am delighted to welcome Nuala Ní Chonchúir and her wonderful new collection of short stories, 'Nude' from Salt Publishing to my humble blog. I have to say, I've read them very quickly, because I was pulled into them very easily. Always a good sign, when you can't tear yourself away from a book.

Born in Dublin in 1970, Nuala Ní Chonchúir lives in County Galway. Her third short fiction collection Nude was published by Salt in September 2009. She is one of four winners of the 2009 Templar Poetry Pamphlet and Collection competition. Her pamphlet Portrait of the Artist with a Red Car will be published in November. Nuala's website is: www.nualanichonchuir.com

Pull up a comfy armchair there Nuala, here's a very large mug of strong writer's tea and some homemade scones & blackberry jam (freshly picked from the Cooley Peninsula on Sunday!). Tuck in!

Hi Barbara and big thanks for having me here at your blog. I know and admire your own work, so I’m honoured to be here.

Thank you Nuala, now down to questions: firstly, how and where do characters come from, for you? Do you find characters re-visiting you or is it the other way around, do you like to tease out other nuances of them in related stories?

Gosh, that’s hard to answer because, in a sense, there’s no one way that characters ‘arrive’ to me. Sometimes I have a sense of someone or a relationship between two people and I want to write about them. Take Magda and Jackson in the story ‘Jackson & Jerusalem’. She’s an older woman artist and he’s a teenager who models for her; I liked the idea of that dynamic – a friendship across generations/sexes. I based the physical descriptions on my own son when he was a bit younger. Magda isn’t based on anyone but she’s very real to me. She’s also featured in the story ‘Madonna Irlanda’ as a younger woman; if I like a character, it’s irresistible to write more about them.

Other times characters arrive like a voice in my ear – I hear their voices and I work from there.

How do you delineate so well between older and younger characters, such as Jackson and Magda in 'Jackson and Jerusalem'? Do you find it hard to switch between the headspace needed to make each character live and breathe in the rounded manner that they do?

I’m glad you think I do it well...I was one of those children who preferred the company of adults; I loved listening to their conversation. I had my poor neighbours plagued as a child, always in their houses talking to them. I find younger people harder to relate to but having kids myself has given me some understanding of what makes them tick. All of that knowledge gets ploughed into fiction, I guess – into my characters.

My stories are generally from one POV so there isn’t really a problem switching headspace. I’m not sure that I find it problematic anyway. It’s fun to get inside the heads of people who are nothing like you; I enjoy that escape thoroughly.

Have you ever experienced great difficulty with a story - say for example, getting the ending right, or losing your way through the story? I ask this, because I find your stories are so absorbingly complete and well-imagined, that I can't imagine difficulties!

Yes, lots of difficulties! I don’t plot so I never have a clue what’s going to happen next. I used to almost fear endings but I’m more relaxed about them now.

And I suppose only the stories that work get into the book. I start, and then abandon, lots of stories – some just don’t lift off the page. I’ve written plenty of what Richard Ford calls ‘minor aesthetic nullities’. I’m rarely happy with anything. There are a handful of stories in Nude that I really love – the rest I just like, in whole or in part. But it doesn’t matter what I think – it’s impossible to be objective about your own work – I just hope that readers enjoy them.

Are you compelled to write or can you save ideas for work, for later on when you get the chance? Which method works better for you?

Writing is a compulsion for some people and I’m one of them; I’m always in writing mode. Henry James said, ‘Be one of those people on whom nothing is lost’. I think I am one of them – I seem to notice a lot and, as I notice things, I’m writing a narrative in my head. I presume all writers are the same.

Lately though, with my new baby and with promoting Nude, I’m too tired and busy to write anything more than the bones of a few poems. I want to be writing above all else, but the headspace is just not there. So, instead, I take notes!

Thanks so much for having me here, Barbara, and for your great questions. Next week my virtual tour takes me to Petina Gappah’s blog in Geneva, via Zimbabwe, which is where Petina is from. Do join us!

Thank you for coming by, Nuala, it's been a pleasure and I hope that Nude garners the attention it deserves.

Today I Shall Be Mostly...

...stuffing dormice. Virtual ones of course!

Elizabeth Baines is visiting with me tomorrow. I thought, since it was the first leg of her Virtual Cyclone tour with Balancing On The Edge Of The World, I really ought to mark the ocasion with something special.

So we will be 'enjoying' a Roman style feast.

Before she gets here, I want to briefly talk about her debut collection of short stories. Right from the off, with the opening story, 'Condensed Metaphysics,' I was hooked. How can you set a story in a pizza parlour, with several people in various stages of drunkenness and still make it a story about humanity, and all our vices and virtues - but one that doesn't preach at you?

You can if you're Elizabeth Baines. This is the way she works: she makes the ordinary (the things, the attitudes, the way that people think) that you or I would pass right on by seem quite extraordinary. She does this by simply showing how characters really are, without apology.

If you read and re-read her work (yes, it really does bear re-reading), there are so many layers to it that each time there is a new freshness to each of her stories. 'Balancing On The Edge Of The World' really is a fulsome collection of short stories, each story fully realised and full of new ways to appreciate our human traits.

I'd better stop myself now... I mustn't let the fish sauce (an important element of tomorrow's meal) spoil!

Judging Stories

On what elements this particular judge was looking for in a short story.

It includes the silly formatting mistakes that people make that eliminate them before the story's even read; and how important the authorial voice is in a story.

Brian Hodge describes 'voice' as "the fusion of 1001 little aesthetic and stylistic choices." Yes, voice is that hard to quantify: it's similar in poetry too.

Storytellers Unplugged is one worth keeping an eye on, if you're into short stories, and the competition end of things especially.

The Shameless Lion Writers are at it again!

Shameless' Lions and Lionesses have a new writing project up: it's based on a photograph of someone hailing a taxi in New York and looks very good so far with two writers having contributed.

It works through each subsequent writer nominating the next. So far, Shameless began it, CB continued it, and Scarlett is next. Go read it on the above link - it's great - Grace the protagonist is quite mysterious...

I can't wait for my turn - I have a feeling this story will grow in unexpected ways!