Genre: Fiction

Hilary Mantel, author of the historical novel Bring Up the Bodies (Fourth Estate) has been awarded the 2012 Man Booker Prize. This is her second win. 

Mantel first received the prize in 2009 for Wolf Hall (Fourth Estate), the first book in a trilogy of which Bring Up the Bodies is the second installment. Mantel is only the third author—after Peter Carey and J. M. Coetzee—and the first woman to win the prize twice, and is the first to win with a sequel. She receives an award of 50,000 British pounds.

The Wolf Hall trilogy surrounds Thomas Cromwell and Henry VIII, and the eventual death of Anne Boleyn. In an announcement made last week on the Man Booker website, the judges said of Mantel’s work: “Her resuscitation of Thomas Cromwell—and with him the historical novel—is one of the great achievements of modern literature.”  

The book was selected from a shortlist that included Tan Twan Eng for The Garden of Evening Mists (Myrmidon Books), Deborah Levy for Swimming Home (And Other Stories), Alison Moore for The Lighthouse (Salt), Will Self for Umbrella (Bloomsbury), and Jeet Thayil for Narcopolis (Faber & Faber). Peter Stothard, Dinah Birch, Amanda Foreman, Dan Stevens, and Bharat Tandon judged. 

Mantel is currently at work on the third and final installment in the trilogy, to be titled The Mirror and the Light, which will continue Cromwell's story until his execution in 1540.

In the video below from the Guardian, Mantel discusses her second Man Booker win. 

The Story Prize, an annual book award given for a short story collection, has announced its panel of judges for the 2012 awards. They are critic and writer Jane Ciabattari, author Yiyun Li, and bookseller Sarah McNally.

Jane Ciabattari is the former president of the National Book Critics Circle, and the author of the short story collection Stealing the Fire (Canios Editions, 2002). Her reviews, interviews, and reportage have appeared in the New York Times Book Review, the Boston Globe, Bookforum, Salon, the Paris Review, the Los Angeles Times, and the Washington Post, among many others.

Sarah McNally founded McNally Jackson Books, New York City's largest independent bookstore, which she has owned and operated since 2004.

Yiyun Li is the author of the story collections Gold Boy, Emerald Girl (Random House, 2010) and A Thousand Years of Good Prayers (Random House, 2005) and a novel, The Vagrants (Random House, 2009). A former MacArthur Foundation fellow, she has received the Hemingway Foundation/PEN Award, a Whiting Writers’ Award, and the Guardian First Book Award. In 2007, Granta named her one of its Best of Young American novelists, and in 2010, The New Yorker named her one of its top 20 fiction writers under 40. 

Judges for The Story Prize are selected from various literary fields, and have included writers, editors, booksellers, librarians, critics, journalists, and academics.

Founded in 2004 by director Larry Dark, the Story Prize is given for fiction collections published in the United States during the previous year. The winner receives $20,000, and each finalist receives $5,000. Past winners have included Edwidge Danticat, Anthony Doerr, Mary Gordon, Patrick O'Keeffe, Jim Shepard, and Tobias Wolff. Last year, Steven Millhauser won the prize—edging out finalists Don DeLillo and Edith Pearlman—for his collection We Others (Knopf, 2012).

The submission deadline for this year’s Story Prize is November 15. Finalists will be announced in January, and the winner will be announced at a ceremony in New York City on March 13. For more information and up-to-date news, visit the Story Prize blog.

October writer-in-residence Sehba Sarwar blogs about Voices of the Displaced, a workshop led by P&W-supported Voices Breaking Boundaries (VBB). A writer and multidisciplinary artist, Sarwar uses her poetry, prose, and video/art installations to explore displacement and women’s issues on a domestic and global level. Her first novel, Black Wings, was published in 2004, and she is currently working on a second manuscript tentatively entitled "Island."

In the spring of 2003, I began co-facilitating a Voices Breaking Boundaries (VBB) writing workshop with another Pakistani poet Shaista Parveen. At that time, VBB was still young—we were in our third year and I had recently quit working at a high school, where I had been teaching creative writing and journalism. I didn’t have much salary in those days and my only income was through workshops that VBB writers and I taught at local schools.

Though I had fun with teenagers, I wanted to work more with adults. So Shaista and I began planning a workshop that spoke to the rootless-ness we both felt, whether we were in Karachi, Houston, or somewhere else. Shaista and I dedicated much thought to our workshop title—just as VBB co-founders and I had spent time honing in on the right title for “our” organization three years earlier. We finally agreed on “Voices of the Displaced,” a title that rang true for us. It also attracted a pool of Houston-based writers who were born in other countries or elsewhere in the United States, who had come from communities of color, or identified themselves as GLBT/queer. Project Row Houses offered us a meeting space and co-sponsored the series. We sent out emails inviting people to join—VBB didn’t even have a website at that time. Our first group was intimate with only six participants, but over time, the group expanded. We always brought food and drinks and our gatherings offered formal writing but also a sense of community.

VBB’s Voices of the Displaced series lasted about two years, ending a few months before my daughter was born. But once the formal workshops ended, a group of us filled the void by forming a writing/performance group, Displaced Corps. For another year, we met weekly to write, critique each other’s work, and perform together.

Since that initial spurt of adult workshops and then subsequent break, VBB has gone back to offering writing workshops for educators and students. We also continue working on the issues we explored through Voices of the Displaced by producing theme-specific multidisciplinary shows such as Politiqueer, Artists/Mothers and What’s Color Got to Do With It?

Often I think about the title of our group and recognize that the feeling of “displacement” is true of communities not just in Houston but also in urban spaces around the world. To live in the same city as our grandparents, attend the same schools and colleges as our parents, or stay in the neighborhoods in which we were born is becoming rare. Human migration and movement makes the recording of memories and family stories precious and so much of VBB’s work continues to be focused on revisiting histories through different lenses, capturing neighborhood stories, and teaching workshops that create connections between the past, present, and the future.

Photo: Sehba Sarwar (right) with another workshop participant.

Support for Readings/Workshops events in Houston is provided by an endowment established with generous contributions from the Poets & Writers Board of Directors and others. Additional support comes from the Friends of Poets & Writers.