Edinburgh International Book Festival 2018

I’ve just been enjoying a couple of weeks at the world’s largest literary festival, the Edinburgh International Book Festival, seeing a number of fascinating author events and also being fortunate enough to chair several comics and science fiction events too, from Young Adult science fiction and graphic novels to graphic non-fiction covering science, gender and history, as well as taking in two very famous, gifted but different artists, Mr Alan Lee, and Scotland’s own Frank Quitely.

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The comics folks were out in force on the first day of the book festival, with the Edinburgh Comic Art Festival gang organising a free comics fair for small press and Indy creators in the hotel right across the road from the main festival in Charlotte Square, which was a very nice touch, giving the small press comickers a chance to shine at such a huge lit fest, in the middle of a city buzzing as the Fringe and International Festival were also going on and it feels like half the planet has packed into our ancient volcanic city to enjoy the biggest arts and culture bash in the world, a terrific place for our fellow comickers to strut their funky stuff.

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Edinburgh International Book Festival 2018 - A Graphic Novel of Women 03

The opening day also saw the regular lovely old Spiegeltent being used for more events, with a talk involving BHP Comics’ Sha Nazir and Heather Palmer and 404 Ink’s Laura Jones discussing We Shall Fight Until We Win, an all-woman creator anthology celebrating the centenary year of (some) women in the UK getting the vote, with a female figure from each decade of that century explored by the different writers and artists. Both Indy Scottish presses, BHP and 404 Ink, had collaborated on this, and in a remarkably brief timescale – much of the writing, drawing and editing was achieved within a couple of months. Larger publishers would probably still be going over contracts at that point, but small publishers can be swifter and more nimble on this kind of turnaround, as the panel explained. The audience was pleasingly mixed, as far as I could see, comics readers but also a lot of regular book festival goers who had come along partly out of interest in the subject and also perhaps to help support local publishers.

I had the most people I’ve ever had on stage at any event I’ve chaired at the festival for a SelfMadeHero evening, which included John Harris Dunning and Michael Kennedy talking about the amazing Tumult and Javi Rey discussing his beautiful graphic adaptation of Jesus Carassco’s Out in the Open. Javi’s English was fine for one on one chats but on stage we had an interpreter, Carolina, so all in all there were five of us packed onto the small stage (Carolina is also an Indy publisher as well as interpreter, and she brought that to the proceedings too).

Both books were very different, but there was a lot of common ground too, especially in the way the two different artists had used light and colour, and rather nicely it ended up being one of those events where instead of just me asking questions the comickers all started commenting on each other’s answers and asking each other questions too. There was a lovely flow between Michael’s art and John’s writing in Tumult, the art achieving the difficult task of showing the same woman but hinting at the different personalities which manifest in her, while Javi chose to adapt the novel into comics by dropping most of the words, letting the art – including some stunning, Sergio Leone-esque landscapes – carry the story, more an interpretation than adaptation. Interestingly he told us the publisher in Spain approached him and asked him to adapt the hugely successful novel into comics form. At the post-event signing Javi produced his watercolours box and proceeded to paint colour art for every person who signed. I can’t recommend Tumult and Out in the Open highly enough, two of the most fascinating and beautifully crafted graphic novels I’ve read this year.

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I was delighted to see Darryl Cunningham, returning to the book festival (he was here previously for Supercrash), bringing his quite excellent Graphic Science from Myriad Editions (reviewed here) to the festival. He had been put on with computer scientist Ursula Martin, who had written on one of the woman pioneers of computer science, the great Ada Lovelace, which proved a good match as Darryl’s graphic work explores several scientists who are less well known and respected than they should be because of gender, class, income or colour, and it was a good reminder of the power of intellect and learning, for the individual of any kind, and the positive effects their work, if they are given the chance, can have on a wider society. I was also cheered when Darryl was introduced as writing graphic non fiction but in his talk he said some of the terms like that applied to creators were clumsy, and he said he simply thinks of himself as a cartoonist. I was very proud to hear him use the “C” word.

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Frank Quitely gave a great late night talk at the festival, taking his recent Drawings + Sketches art book published by Glasgow-based BHP Comics as the basis of the evening. Frank had pages of his work from the Drawings book on screen, and he and chairperson Stuart Kelly used those as a good way to explore not just Frank’s impressive body of work, from Broons parody The Greens in Electric Soup many years ago in Glasgow to major works from US publishers such as We3 with Grant Morrison and Jupiter’s Legacy with Mark Millar. The fact this covered everything, from the roughest doodles and sketches to variations in ideas for characters, costumes, layouts, all the way to the finished works, gave the large audience a terrific insight into the creative process.

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Frank was also generous with his praise for others, such as the writers he has worked with, the importance of work largely unseen by readers proved by editors and others behind the scenes, and discussing some of the other creators whose work he hugely admires. Dave Gibbons was one artist Frank singled out for praise, mentioning how every so often he likes to take out Watchmen and have a look at some specific scenes, to see just how Dave planned and drew them, except, he added with a smile, the story is so well done that he soon finds himself reading away, lost in it, before remembering he was meant to be studying Dave’s art and layouts from a technical point of view. Despite it being a late evening event the turnout was good and there was a solid line for the signing session afterwards (props to the bloke who arrived clutching a branded bag from the sadly now defunct Plan B Books in Glasgow).

I was very pleased to see Jean-Pierre Filiu returning to the festival this year. Jean-Pierre, a former French diplomat, now writer, lecturer and historian, wrote the absorbing trilogy of graphic history/politics books The Best of Enemies, a history of US-Middle East relations from the very creation of the American Republic in the late 1700s to the modern era. The series offers a fascinating insight into this complex history of competing influences and alliances, wrapped up in some truly astonishing artwork by one of France’s greatest comickers, David B.

Last time he was here Jean-Pierre explained there would be a gap between book two and three as the demands of the complex artwork had exhausted David B, and he required a break. The third volume was published in English by SelfMadeHero earlier this year (see my review here), and was one I was eagerly awaiting. Jean-Pierre commented how the third volume, covering the most recent years, was in many ways the hardest to do, principally because this was a period he had personally experienced (he was actually in Baghdad one evening as Allied airstrikes hit it, a planned outing to a classical concert changed to a cellar after the venue was hit by a Tomahawk missile), and how much harder it was to maintain balance and not become too emotionally entangled.

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He also explained the final pages, wordless images of a wide selection of men and women from across the Middle East, Arab, Israeli, young, old, all just looking out of the page at us, looking directly at us as if to say “what will you do? How will you help make this better? We’re just people like you and want to live with our families in safety and prosperity”. Fascinating and extremely compelling, and not a little emotional too.

I had the pleasure of chairing some events in the Children’s Programme this year too; I’ve chaired author events many times before at the festival, but this was the first time I worked on the kid’s programme events, and it really was fun. I had a terrific chat about YA science fiction with Barbados writer Karen Lord (who has one of the brightest and bestest smiles I’ve ever seen) about The Galaxy Game, a follow-up to The Best of All Possible Worlds, and Paul Magrs (who many of you will know for his Doctor Who and Big Finish tales) who was there with the third part of his Lora Trilogy, The Heart of Mars, following a young teenage girl’s journey to save her family and friends across a future, terraformed Mars.

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While both books were very different they had a lot in common, both with complex and well-realised societies with rich traditions and customs, and both, I found as I read, avoided the “omniscient narrator” and gave the reader only the same information as the main characters, which had the effect of placing us right there in the journey with them, learning right alongside them, this process immersing us more into the book and cultures and also empathising more with the characters.

The theme of this year’s book festival was freedom, and Gutter Magazine had produced The Freedom Papers, a collection of personal essays on what freedom means to different people, by over fifty writers from around the world, including Karen and Paul, and instead of reading from their own books they both read their essays. Given some dozen important authors (many from African and Middle Eastern countries) were blocked by the incompetent, Kafka-esque Home Office from obtaining their visas to visit the book festival, this discussion on freedom was all too relevant to those of us at the festival – freedom of movement is important, denying it can be, in effect, a form of censorship, and for a government to stop so many lauded writers from entering the UK to its largest celebration of the written word was utterly shameful and hardly does much to enhance the UK’s reputation of being open to the world.

Also on the children’s programme I got to work not only with a pair of Nobrow/Flying Eye creators, Alexis Deacon, there with the first two volumes of his beautifully illustrated YA fantasy graphic novels Geis (pronounced Gesh, as in the old Gaelic term for a form of curse or enchantment), and Joe Todd-Stanton with the second of his Brownstone’s Mythical Collection tales, Marcy and the Riddle of the Sphinx, and The Secret of Black Rock. Joe’s work mixed elements of the classic children’s picture book format with elements of comics to create a delightful hybrid, and boasted some quite gorgeous scenes – in fact Alexis drew attention to a two-page spread by Joe depicting the Egyptian god Ra’s sunboat traversing the sky, all shown in a cutaway fashion, like those lovely Dorling Kindersely books, and the audience of youngsters all agreed with him how beautiful some of those scenes were. It’s always nice when instead of just you as chair asking the authors questions, they interact with each other and discuss each other’s work and processes on stage too, and it becomes more of a natural conversation rather than interview.

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With so many young readers in the audience both Alexis and Joe were happy to discuss how they got into illustration and comics (in Alexis’ case this was his first proper comics works, his previous, award-winning works being picture books, but he had long harboured a desire to do longform comics), and how they create their works, from ideas for a story and little doodles to the finished page. Unsurprisingly many of the youngsters there liked the idea of making their own stories and comics, and they seemed to especially enjoy hearing Joe and Alexis explaining to them about how they go about making their tales and their art.

As part of the Scottish Government’s Year of Young People a group of schoolchildren – calling themselves Codename F – worked with the festival programmers on choosing events, and in fact Alexis and Joe were authors they had specifically asked to have at the festival (you can imagine how delighted they were to learn that!). Three of these youngsters took part in the event with us, talking to us beforehand in the Author’s Yurt, they then introduced the three of us at the start of the event (unusual experience for me, normally I am introducing the author, this time I was being introduced with them!) and they had lined up questions for the audience Q&A segment after our on-stage chat. The kids were so enthused at being part of the book festival, and over the moon at meeting some of the authors they had loved reading, getting to talk to them, getting their books signed (both Alexis and Joe did them lovely wee sketches too), they were absolutely beaming, one youngster telling us that this was the best day of his life. It was wonderfully sweet, even to a cynical old bookseller like me, and quite wonderful to see the children so involved and happy at book events. I think that was one of the nicest events I’ve ever done…

On the last day of the festival on the holiday Monday I had my last event, and boy, what an event to finish on: illustration royalty in the form of the great Alan Lee. HarperCollins are publishing the final JRR Tolkien tale, The Fall of Gondolin, this week and this was the first proper event in the world to celebrate that landmark. Ironically this final publication is the earliest Middle Earth tale – Tolkien himself noted in a letter to a friend that this was the first proper tale in his world that he ever started – begun during a break from the horror of the trenches in the Great War. Tolkien, as he often did, rewrote and changed his story over the years, so much so that although parts have appeared before, the full tale, as seen in this book, was thought unlikely to ever see the light of day. His son Christopher Tolkien painstakingly, forensically reconstructed the full tale from multiple versions and drafts (including one saved from destruction by his mother), and the book comes with copious notes on how he put it together and explaining how it fits into Middle Earth history, which is as compelling as the actual tale.

Who else could illustrate this almost lost tale of the First Age of Middle Earth, millennia before the time of Lord of the Rings, but already setting up ideas and sowing seeds that would come to fruition so much later chronologically, in the Hobbit and Lord of the Rings and Silmarillion except Alan Lee. An impeccable pedigree of world-class illustration in pencils, inks, charcoals, oil and watercolours and awards from the Kate Greenaway Medal to an Academy Award, he is one of the artists most responsible for how legions of readers worldwide visualise the rich tapestry of Tolkien’s Middle Earth (and of course that is why Peter Jackson asked him to work on the films with him).

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Instead of the usual Q&A session format, Alan had explained he had put together an illustrated talk, and I was happy to forego the time for the Q&A to hear it alongside the packed audience. Alan took us through his work in chronological order, from early works with the great Brian Froud in Faeries to illustrations for Rosemary Sutcliff’s acclaimed children’s takes on the Iliad and Odyssey, the glorious illustrated Mabinogion tales (I still have a copy of that edition, those rich, ancient Celtic myths, source material for much Arthurian lore, married to Alan’s paintings, just enchanting) and of course his many Tolkien works, sharing with us sketches and finished paintings from Lord of the Rings to the Fall of Gondolin, and also his works for the film adaptations with Peter Jackson.

Alan showed us a sequence of works depicting the great city of Gondor, explaining how as well as showing the city from the plains he would then make multiple sketches, effectively tools for himself, taking himself through the streets and buildings so he had a full understanding of how it all connected and worked and looked, inside and out. Part of this found him drawing the different levels and streets as Gandalf rides up to the summit of the city; flicking through these sketches quickly was reminiscent of an animatic used by film-makers to plan a sequence, and indeed Alan added that this eventually went on to be used in the film itself. Alan was also kind enough to include a plethora of sketches and other works which he hasn’t published or shared before, save showing to family or friends, including works from notebooks and sketchbooks he carried with him, and a number of landscapes which he liked to capture in a sketch then would often use later for inspiration for book illustrations, noting Tolkien would have approved given the landscape was such a huge inspiration to him and his writing.

The turnout for this event was huge – sadly we ran out of time and didn’t have space to do the usual audience Q&A session, but everyone agreed it was worth sacrificing those moments to let Alan finish his illustrated talk, and the round of applause for this master wizard of the brushes was enormous and heartfelt. The audience did get a chance to ask him questions at the signing session afterwards, and ye gods, what a line! The queue snaked out of the signing tent, down the walkway then doubled back on itself – by the time I had to leave, a full hour and a half after the end of our event, Alan was still signing for a line of people! Rather nicely I noted that he avoided the chair behind the table provided for the signing, and instead chose to stand in front of it to chat to each reader in turn, right next to them, then sign and sketch for them.

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We all know the “Roads go ever ever on, Over rock and under tree”, but here we were, at the end of our journey through Middle Earth, returned to the very beginning, a long journey Alan has also taken with his achingly beautiful art. Although we didn’t get time for a Q&A on stage I did get to chat to him beforehand as we were getting ready, and I asked him if it had been a bit emotional for him, as an artist, to have followed this long journey through Middle Earth, to end up on the final book and going back to the First Age, and yes, of course it had been. A remarkable journey, made all the better for Alan’s artwork keeping us company along the long road.

And now it’s all over for another year, the Book Festival village will be folded away, the Fringe and International Festival have finished, the thronged streets are suddenly passable once more, and the posters for the multitude of events hang slowly fading from walls and railings like ghosts. Always a peculiar feeling just after the festivals finish, a mixture of relief at reclaiming the city and an ennui at the party being over. Until next year, of course…

You can never have enough books…

I suspect fellow bibliophiles and reading addicts will identify with this, I certainly do. After a couple of decades as a bookseller, reviewer, editor and writer I generally accrue more books than I can find time to read (let alone review), and I’m in the fortunate position of regularly being sent interesting new ones to look at. And yet I still love a good browse round a decent bookstore, especially second hand and charity ones, where you never know what you’ll find. Couple of weeks ago, despite having a pile of new and forthcoming books waiting on my attentions (and having several on the go at the same time) I still went off with a chum to rummage through the charity bookstores on Edinburgh’s Southside.

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(via Spinning About)

I decided since the bulk of my reading recently has been fiction (prose and graphic novel) I would limit myself to only non-fiction (like that matters when you have piles overflowing the shelves into corners, but hey, whatever justification works, right?). And I ambled off after our bookstore troll to the pub with several books – couple of history works, a pop science book and a collection of poetry. Necessary when you have so many other books waiting? Technically, practically, no. On the level of my reading soul though, yes, of course! And it made me feel better.

Most recently my reading has been focused very much on the books of authors I will be talking to next week when I am again chairing a couple of events at the Edinburgh International Book Festival, as I read then re-read to try and pick out some relevant questions for the events, but it’s good to vary the reading diet – and for a break – to dip into some other pieces, so I am also taking quick peeks at Dee Brown’s Bury My Heart at Wounded Knee, a history of the American West but from the perspective of the Native Americans, a book I have been meaning to read for years, and which I found on the shelves of one of those charity bookstores recently. Which I take as a sign from the literary gods and accordingly grabbed it.

For those interested, the two events I’ll be chairing next weekend as part of the Edinburgh International Book Festival are a talk with Karrie Fransman and Rob Davis, both of whom I have followed for years and who are creators who push the ways in which the comics medium can tell a story, and Evie Wyld (one of the Granta best new young writers) and Joe Sumner about their collaboration, Everything is Teeth (I’ll post a review of that on here soon).

Grant Morrison at the Edinburgh International Book Festival

(Grant Morrison in conversation at the Edinburgh International Book Festival at the weekend, all pics from my Flickr)

This weekend I enjoyed a late evening literary bash at the Edinburgh International Book Festival as Scots superstar comics scribe Grant Morrison took the stage in front of a packed audience, which, I’m delighted to note, had a pretty good gender mix (so much for the oft-repeated but simpyl wrong mantra that comics are only for boys…). In fact later on when I was getting my own copy of his new Supergods book (part history of superheroes, part autobiography, very interesting – out now from our friends at Jonathan Cape) I mentioned to Grant how well his recent signing at our Glasgow store (a location he knows well) had gone (he spent over three hours happily signing for everyone who patiently lined up round the block to see him) and he commented that there too and at other events to promote the new work he’s been really pleased to note how large a proportion of the audience are female.

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It was, as you’d probably expect from one of the more consistently inventive writers in the medium, a pretty interesting talk, with Grant elaborating on some of the themes in Supergods, such as taking the superhero figures that have been the industry mainstay for eight decades as ‘real’. By this he didn’t mean real as in actual superbeings walking (or leaping tall buildings) among us, but that the effect and inspiration such characters can have on readers, that is real. And as Grant continued he brought together one of the arguments he’s proposed before and in the book, that with the convergence of humans with their constantly progressing technology it may only a matter of time until ordinary people in future generations will have ‘superpowers’ and abilities beyond those natural evolution gave us, with a look at one of the possible causes of recent unrest we’ve witnessed in UK cities, pointing out that some youth don’t care about society because they feel no connection to it, abandoned by it and with no future – what of a future where those kids grow up to have these new scientifically enhanced powers? Surely, he argued, the heroes we’ve grown up with, Superman, Batman and the rest, offer up a decent role model of how to behave responsibly with powers and abilities. Perhaps one day when superhuman abilities are commonplace that generation will look for role models and guidance on how to deal with their enhanced abilities and they could do worse than look back to our superheroes.

(cover to Supergods: Our World in the Age of Superheroes by Grant Morrison, published Jonathan Cape)

With DC’s imminent reboot of their universe with fity two new issue ones he was asked about reworking classic characters and why it seemed that Superman seems to be remade fairly frequently while Batman, for all the ups and downs creators have put him through (including Grant himself, of course) still tends to retain his backstory more. Grant put this down to the fact that Superman seems to require more re-imagining than Batman and as a character seemed more open to it as well, while Batman’s more complicated back-story and universe simply serves the character so well that although every generation makes changes, it doesn’t need radical overhauling, it works too well. He was also asked about Wonder Woman; in the book he discusses how the earliest strips of our Amazonian were rife with S&M elements, many of which reflected her creator Marston’s own sexual interests (having had a look at a memo Marston wrote, usually locked in a secure DC vault, Grant’s opinion was that Martson was certainly a bit bizarre on some of his sexual preferences and kinks). And yet it seemed these bondage and sexual elements were clearly an important part of her make-up, he said, noting how quickly Wonder Woman faltered after Marston’s passing, how that took something important out of the equation that makes her work. Asked about how he intended to approach this classic but often very hard to write for character, Grant couldn’t elaborate too much for the obvious reason that it is a work in progress. He did tell the audience that he was fairly confident he had found a way to incorporate those original sexual elements back into the world of Wonder Woman but without being sleazy or exploitative – not an easy trick to pull off, he acknowledged with a smile, but he feels he has a handle on how to approach her and hopefully 2012 will let us all read that result for ourselves.

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It was a great event, taking in iconic characters that have lasted decades (as Grant said, you can’t kill the superheroes, even in the wake of Watchmen in the ‘Dark Ages’ of comics of troubled, screwed up characters, when a lot of folks thought that was game over for the traditional hero, they came back. And they always will, the superhero was designed to take on all assaults and problems, after all), treating the comics universes as real, almost like a virtual universe but made of paper (a theme he elaborates on in Supergods), magic and meta fiction, the influence of Hollywood’s interest in comics (perhaps making too many writers try to show that they can write a Hollywood style script for their comic with one eye to being optioned and maybe being asked to become a screenwriter; part of his response has been to try and devolve more power to the artists again on layouts and design of pages, rather than the writer dictating too much on that, telling his artists to to go back to enjoying using those devices that only comics can do rather than trying to be ‘cinematic’ – play with the perspectives and slicing up of time that only a comic strip can do convincingly), gender and just why we still feel compelled to tell and read tales of superheroes. The talk was pretty good natured throughout, with plenty of humour and the queue for the signing afterwards stretched out the tent and down the walkway; it took me almost an hour to get my own books signed and when I left the end of the line still hadn’t even made it into the signing tent! Undaunted Grant was happily signing away and chatting to each and every reader. Hugely enjoyable talk from one of our best writers. Thanks to the press crew at the Book Fest for being kind enough to sneak me into the talk.

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Book Festival unveiled

As I was off for the start of my annual Edinburgh International Film Festival break I could accept an invite to the launch of this year’s programme for the Edinburgh International Book Festival, the world’s largest literary celebration, which took place, assisted by some nice drinkies (ah, booze at half ten in the morning, I do love the booktrade…), in the splendid environs of the city’s Central Library. Director Nick Barley outlined the adult programme of events:

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While Janet Smyth told us some highlights from the children’s programme:

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There are some fabulous events too look forward to, as always, including a celebration of probably the greatest living Scots writer, national treasure Alasdair Gray (including a performance of one of his plays in which a number of his fellow authors will play roles alongside actors), Neil Gaiman returns to the Book Fest, this time talking with Audrey Niffeneger and there are far too many other events to list here (almost 800 authors, around 750 events over two weeks, literary mecca). I did a quick report on it on the comics and SF side mostly for the Forbidden Planet blog and, of course, you can check out the full programme on the EIBF’s website here.

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(inside the Central Library where the Scottish literary community and the media had gathered for this year’s Book Festival programme launch)

I bumped into a number of folks I know at the launch, including a couple of old chums and former colleagues:

Aly and Bob at Book Fest programme launch