Announcing the Jack Harte Bursary recipient for 2017 December 13 2016
Last week we were delighted to award Henrietta McKervey the Jack Harte Bursary at a celebratory evening with IWC members and friends, on Thursday 8 December at the Irish Writers Centre. This is the third year of the Bursary which is presented in association with Annaghmakerrig at the Tyrone Guthrie Centre, and offers writers a two-week fully resourced residency in spring 2017. The award was named in Jack Harte's honour as the unsung hero of the literary scene; he has been instrumental in the establishment of the Irish Writers' Union and, later, the Irish Writers Centre. Liz Nugent was the first recipient of the award in 2015 and Sarah Moore Fitzgerald was the 2016 recipient.
Henrietta McKervey is a fiction writer and design and advertising copywriter. She has published two novels: What Becomes of Us (Hachette, 2015) and The Heart of Everything (Hachette, 2016). She has a MFA in Creative Writing from UCD and has been described by Éilís Ní Dhuibhne as:
‘a novelist in the early stages of her career, brimming over with promise. She has wit, imagination, and an understanding of human beings, which are the hallmark of the true novelist. In addition she has the drive and perseverance every serious writer needs.’
On receipt of the bursary Henrietta commented:
'The Jack Harte Bursary will have a huge impact for me as an individual – the time and space to work on a book without the demands of what passes for ordinary life getting in the way is a wonderful opportunity. But what I think makes this award particularly special is that it’s not created as an acknowledgment of previous work; a book already written. Instead, every year the IWC makes an investment in a new project, something as yet unwritten (or at the very least, unfinished). It seems to me that the world generally has come to lack faith in the power of ideas. That the IWC continues to show its faith in the future of writing in Ireland, in the importance of continuing creativity and ideas, is what makes this award special.'
Beyond words November 28 2016
Recently we were thrilled to launch our 25th anniversary anthology, Beyond the Centre: Writers in their own words, at the Crescent Arts Centre in Belfast on 16 November. We were even more delighted when Carlo Gébler agreed to help us launch the anthology, little did we know that his speech would be a tribute not only to the Centre — but to the writers who comprise such a vital part of it. Read on for Carlo's full speech.
"In 1978 the New Review, literary magazine, English, held a symposium on the state of fiction: 56 writers supplied replies to a questionnaire. The respondents varied in age from mid-twenties to mid-sixties and they gave very different but very detailed replies. Peter Vansittart (1920 – 2008), 1st published novel 1942, 688 copies sold, described himself as, ‘fairly hopeful’ about being a writer. Auberon Waugh, son of Evelyn, confessed he’d eschewed the novel in 1972, when his 5th had earned him £600 on the grounds, and I quote, ‘it is not possible to bring up a young family of four on this sort of earning, and it is not possible to hold down any sort of regular journalistic engagement if one is to take three months off every year to write a novel’. You should be so lucky some perhaps thought, then, and even now.
Jeremy Brooks revealed his last novel Smith as Hero (1964), took three years to write, enjoyed good reviews, but only earned £1200 in total, so he gave up fiction for journalism. Francis King, sometime British Council employee, revealed that in order to support himself and novel writing: he worked as a reader for Weidenfeld & Nicolson, wrote a weekly fiction round-up for the Sunday Telegraph, a television column for the Listener, and took lodgers in to his house in Brighton with meals, which he cooked himself, included in the rent. Penelope Fitzgerald described how the managing director of Duckworth, Colin Haycroft wondered if an advance of £200 on her first novel The Golden Child (1977) was acceptable to which she replied, to him, ‘No, but I haven’t the courage to say no.’
So that was Albion. Thirty years later, different polity, we find, when we read Beyond the Centre, this marvellous collection of essays about literary culture now, and particularly Catherine Phil McCarthy, Jack Harte and Peter Sirr’s essays, those challenges as politicians would doubtless call them, encountered by writers, well, they haven’t gone away, have they? As several of the writers whose work is contained herein testify it is difficult, very difficult to make a living as a writer. Or, to put it another way, there simply ain’t enough cake to go round: not for writers, and not for the Irish Writers Centre either. This gruesome economic truth runs through the essays in this collection like Bundoran runs through a stick of Bundoran rock. And by the way, yes, I bought some Bundoran rock recently and I know of what I speak.
Now: These essays aren’t only about economics of course. This is an eclectic collection. The contributors have chosen to approach their brief from many different angles, not just the financial one and the book is the stronger for its breadth but it is, if any in power chose to read it, a bracing read because what would be born in on them is that the rewards for making literature are meagre. However, this is not artefact simply of complaint. There are complaints, yes, and the Irish state, its political elite and its arts bureaucrats get a quite a roasting, and fair enough, but this is also emphatically a book that celebrates collaboration, communal activity, solidarity between like minded souls and describes what people have done by pulling together.
Orwell wrote a marvellous essay on Dickens. It was inside the collection Inside the Whale. I love Orwell and in this essay I was particularly captivated by this, which I think Lisa McInerney, because of her contribution on culture and class in this collection, might particularly like:
‘If you hate violence and don’t believe in politics, the only major remedy remaining is education. Perhaps society is past praying for, but there's always hope for the individual human being, if you can catch him young enough. This belief partly accounts for Dickens preoccupation with childhood.’
I personally don’t believe in violence and I despair of politics and our politicians, so all I have left is education. That is, actually, all I believe in and that is indeed, in the widest sense what the Irish Writers Centre offers, as these essays also attest. You’re probably now thinking, What’s he talking about, the classes, the courses? Well, yes and no. They are educational and they are a core part of the Centres activities. The Irish Writers Centre has helped writing by teaching people to write better and in the process has helped writers by employing them to teach people to write better. Hooray. But I’m not talking about just that kind of educational endeavour, the pedagogical variety.
So am I talking about the huge number of happenings, events, readings, and the way the Centre has acted as an impresario for cultural activity, literary mostly, and that is in and off it self a jolly good thing. Again, yes and no. These are great. They introduce to readers writers and the work of writers they might not know. Fabulous. What’s not to like? And it is educational.
But the kind of education I’m talking about is the wider, deeper, fuller variety, the kind that raises consciousness, the kind that transforms actual thinking patterns and enables thereby, what hasn’t been thought before to be thought and then enacted, put in to practice, actualised.
And the basis and enabler of this consciousness raising is the utterly unpredictable but incredibly liberating, stimulating intellectual miscegenation that occurs by virtue of the Centre being a centre. Because it’s a centre people go to it. They bring ideas, literatures, attitudes, habits and social practices. They meet other people, talk, interact, blah blah, and all this psychic material gets mixed up, and then it gets churned around and then it gets broken down and then and then it reforms in to something not previously considered or imagined and then hey presto something new has arrived. This has been going on since the Centre started. Obviously a lot of what’s been made is written but there’s a lot more than texts made there and, moreover, we can name these things. The list is long, I’ll just list a few examples (don’t take it personally if you’re left out) the Liffey Project, the Bloomsday thingamajig, the Dublin Writers Festival, the UNESCO designation of Dublin as a ‘City of Literature, and a host of trade or industrial organizations and bodies. Other bodies were involved but the Centre was of some service in the case of these and more and these are the kind of educational outcomes that I believe in. I believe in things, programmes, rituals, whatever, that go out in to the world and change it for the better as all of the things that have come out of the Centre have done and I believe these things in turn, have an educational remit because they, in turn, all raise consciousness. You see, I have a thesis. There is a virtuous circle.
The world, at the moment, is not a happy place. We live in a mad world and we, writers, artists, what ever you want to call us, we have a job. Our job, to paraphrase Mencken is to afflict the comfortable and comfort the afflicted, or so I believe, and we do that by raising consciousness also in what ever way we can and the Centre’s function is, in every way, to enable that, and it has, and it does. It’s been doing it brilliantly for the last quarter century, as the essays attest, and I believe there is every certainty, given the people in charge, Valerie Bistany et al, I believe that there is every certainty that it will continue to fulfil this vital function. And in that endeavour it will certainly have my absolute and unqualified support."
Wednesday, 16 November 2016
Crescent Arts Centre, Belfast
Beyond the Centre: Writers in their own words is available now from New Island Books, just in time for Christmas!
Irish Writers Centre launches Northern Ireland Programme November 16 2016
Image: Pictured at the programme launch are: Valerie Bistany, Irish Writers Centre, Damian Smyth, Arts Council of Northern Ireland, and writers Jack Harte and Martin Devlin.
The Irish Writers Centre (IWC), with support from the Arts Council of Northern Ireland’s National Lottery funding, is extending its programming into Northern Ireland with a series of specialized courses and residentials in Belfast, Derry, Fermanagh and Tyrone. The prestigious Dublin-based institution is also offering 20 free professional memberships to local writers.
The IWC, which supports and promotes writers at all stages of their development, announced the details at a special event, hosted at the Crescent Arts Centre, on Wednesday evening.
The information session was attended by writers from across Northern Ireland and provided an in-depth look at the services and resources that the Centre can offer emerging and professional writers, such as workshops, networking opportunities and training courses.
Upcoming events include, Mindshift: The Connected Writer at The Crescent Arts Centre on 19th November, an event for writers wishing to raise their public profile. While crime fiction writer Declan Burke will be hosting a writing course at Ranfurly House on 3rd December, revealing the critical elements needed to create a memorable mystery.
Damian Smyth, Head of Literature and Drama, Arts Council of Northern Ireland, commented:
“The Irish Writers Centre is already a flagship resource for writers across the island of Ireland, providing quality training and development opportunities for those at all stages of their career. It’s first dedicated programme of workshops, training days and residencies will stretch to venues across Northern Ireland, with opportunities for writers of all disciplines to get involved.”
Valerie Bistany, Director of the Irish Writers Centre, commented:
"The Irish Writers Centre is delighted, with the Arts Council of Northern Ireland’s support, to offer a bespoke literary programme for Northern writers, with a specific emphasis on professional development. We are inviting Northern writers to connect and engage with us, and form part of an all-island writers' community.
“To that end, we are offering professional Northern Irish writers 20 free memberships for 2017 on a first-come first-serve basis (pending eligibility), two dedicated Cill Rialaig residencies and a subsidy scheme to avail our mentoring scheme. Sign up for our newsletter for information on how to apply."
The Irish Writers Centre is a national resource for literature. It runs a diverse programme of writing courses and workshops led by established writers across a range of forms and genres, including screen-writing, memoir, poetry, playwriting, short-stories and the novel. In addition, the Centre offers a variety of seminars, lectures, events and readings all related to the art of writing and has welcomed many award-winning writers through its doors, including Nobel, Costa, Man Booker & IMPAC winners.
Announcing the recipients of the IWC / Anam Cara bursaries February 17 2016
The Irish Writers Centre and Anam Cara Writer's & Artist's Retreat are delighted to announce that Réaltán Ní Leannáin and Simon Ó Faoláin are the recipients of two one-week residencies to take place later this year.
These residencies will afford the two writers time and space to complete their current creative projects which are being written in the Irish language.
The recipients were selected by a panel comprising writers Anna Heussaff and Jack Harte, and Valerie Bistany of the Irish Writers Centre. Jack Harte commented on the residencies by saying:
'A week in Anam Cara is a huge boost to any writer, and the affirmation that it implies is hugely important too.'
We would also like to thank Sue Booth-Forbes of Anam Cara for her generous patronage of these two writers and wish them an enjoyable and – most importantly – creative stay!