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P. 31. Chapter 2 1. Le Guin Notes Chapter 1 1. Ursula K. Le Guin, The Language of the Night (1985), p. 31. Chapter 2 1. Le Guin, ‘Telling Is Listening’, A Wave in the Mind (2004), p. 199. 2. See Anthony Gritten, ‘Music Before the Literary: Or, The Event- ness of Musical Events’ (2006) and Willmar Sauter, Eventness: A Concept of Theatrical Events (2008). 3. For more commentary on the rise of literary festivals in particular, see Beth Driscoll, The New Literary Middlebrow (2014), p. 153, and Millicent Weber, Literary Festivals and Contemporary Book Culture (2018). For a historical perspective on other forms of ‘book event’, see Daniel Finkelstein and Claire Squires, ‘Book Events, Book Environments’ (2019), p. 6. 4. For more information about Ark, see the website: www.arkshorts tories.com. 5. See www.arkshortstories.com and www.ellenwiles.com for more information and detail. © The Editor(s) (if applicable) and The Author(s), under exclusive 277 license to Springer Nature Switzerland AG 2021 E. Wiles, Live Literature, Palgrave Studies in Literary Anthropology, https://doi.org/10.1007/978-3-030-50385-7 278 Notes 6. The Invisible Crowd won a 2018 Victor Turner Prize for ethno- graphic writing. 7. See Finnegan (2015), EPub, location: 32.4/447. Uncoincidentally, Finnegan’s own scholarly prose style is notable for its clarity, and she too has branched into writing fiction. 8. Emphasis added. See Le Guin, ‘In Pursuit of the Gorgeous Sound of Language’, Ch. 1 of Steering the Craft (2015), p. 1. Along the same lines (or sound waves), Joe Moran’s definition of a sentence, in any form of writing, is: ‘a line of words where logic and lyric meet – a piece of both sense and sound’—see Moran (2018), p. 2. A. L. Kennedy has critiqued scholarly writing tendencies from a similar perspective: in an essay written and performed for radio, she bemoans the fact that academia has long tended to view writing primarily as ‘marks on a page’, when in fact it is always connected to the voice, just as it is to breath and to music. All writing, she says, ‘is a kind of musical notation for the mind… We can choose to work on behalf of one of humanity’s deepest expressions: our breath. We can choose not to… but where’s the fun, the light, the life in that?’ See A. L. Kennedy, ‘The Voice on the Page’, The Essay, Radio 3, first broadcast 6 February 2019. 9. Beth Driscoll uses the word ‘explosion’ in her examination of the literary festival, in The New Literary Middlebrow (2014), p. 153. Millicent Weber also uses it to describe the growth of literary festivals, in the first line of Literary Festivals and Contemporary Book Culture (2018), p. 1. Kevin Parker, founder of the literary festivals website, uses it in his piece, ‘The Rise and Rise of Literary Festivals’, https://www.literaryfestivals.co.uk/ announcements/the-rise-and-rise-of-literary-festivals,26February 2015 (accessed 19 February 2019). 10. See Weber (2018). 11. For a historical perspective on other forms of ‘book event’, see Daniel Finkelstein and Claire Squires, ‘Book Events, Book Envi- ronments’ (2019), p. 6. 12. NB the term ‘live literature’ does not yet appear in the Oxford English Dictionary and the origins of its common contemporary usage are unclear. However, Arts Council England’s Live Literature Notes 279 specialist, Sarah Sanders, confirms that in her view it emerged in the twenty-first century, and that the Arts Council began using it as a category for funding purposes c.2004, in its previous form as ‘London Arts’. Informal conversations with other artists and producers confirmed this view. 13. In the music context, the rise of live events is clearly linked with musicians needing to make money as the rise of streaming has slashed their income from album sales. For a scholarly perspec- tive on the economics of music and liveness in the context of the digital, see, e.g., Fabian Holt, ‘The Economy of Live Music in the Digital Age’ (2010). Similarly, in literature this century, authors’ incomes have nosedived, particularly for authors of literary fiction. For commentary and analysis of literary fiction authors’ incomes, see: Arts Council England’s report, ‘Literature in the 21st Century: Understanding Models of Support for Literary Fiction’ (2017). However, unlike musicians at gigs, authors are often not paid a fee for appearing at live literature events, despite their declining incomes. See Finkelstein and Squires (2019), p. 6; and The Society of Authors (eds.), ‘Philip Pullman Resigns as Patron of Oxford Literary Festival Over Refusal to Pay Authors’ (2016); and Bene- dicte Page, ‘Authors Call for Boycott on Non-paying Festivals’, Bookseller 15 January 2016. 14. This definition is not explicit in Arts Council documentation, but was outlined to me in an interview with members of the Arts Council’s literature team in 2014. Within the literature team, ACE have a live literature specialist who is in charge of all live litera- ture projects—projects that may be categorised under the umbrella of either literature or ‘combined arts’. The Scottish Book Trust, in contrast, runs a distinct ‘live literature’ funding stream which focuses on bringing published authors into community settings; for more details see their website: https://scottishbooktrust.com/ live-literature (accessed 12 December 2018). 15. See ‘literature, n.’, Oxford English Dictionary, online edition, accessed 2 December 2018. 16. See Finnegan (2015), EPub location: 413.1/477. 17. See Giorgi (2011), p. 34. 280 Notes 18. See Hauptfleisch et al. (eds.), Festivalising! (2007), pp. 20–23. 19. In her book on the subject, Weber defined it as any ‘festival that pertains to literary culture’. She included in her study festivals such as Port Eliot: a festival that used to call itself a ‘literary festival’ but that, for years now, has just called itself a ‘festival’ and incorpo- rates literary events as a minority element of a programme featuring music, theatre, comedy and fashion. 20. The choice seems to reflect an emphasis upon a particular aspect of literary culture, with ‘book festival’, for instance, emphasizing the physical book and therefore the element of commercial exchange; though in reality most of them are very similar in format. 21. I refer here to Bourdieu’s notion of cultural capital, as elucidated in Distinction (1984), p. 87—and discussed in relation to literary festivals in Weber (2018), p. 33. 22. See the Festival’s website: https://www.singaporewritersfestival. com/nacswf/nacswf/about-swf/about-swf0.html (accessed 30 April 2019). 23. See Finkelstein and Squires (2019), for a discussion of ‘book events’ in the twentieth century that sets out to expand the usual focus on literary festivals. 24. This series was curated by Gemma Seltzer and David Varela. For more information, see the website https://livewritingseries.com (accessed 19 February 2019). 25. The artist/writer here was David Musgrave, and this event was part of Plastic Words at the Raven Row Gallery (2014)—see: https://www.ravenrow.org/exhibition/plastic_words/ (accessed 13 February 2018). 26. This was an Almeida Theatre production in 2015, featuring 66 artists and claiming an audience of over 50,000 across the world, including online. See https://almeida.co.uk/the-Iliad (accessed May 2020) for more information. 27. See Rubery (2016), p. 20. 28. See Susan Somers-Willett, The Cultural Politics of Slam Poetry (2009); and Maria Damon, ‘Was That “Different”, “Dissident”, or “Dissonant”? Poetry (n) the Public Spear’ (1998). Notes 281 29. See Rebecca Watts’s controversial article published in the PN Review, in place of a review of McNish’s work which she refused to write: ‘The Cult of the Noble Amateur’ (2018). The article prompted heated debate about amateurism vs. elitism in the poetry community and the media, as well as spoken vs. printed forms. 30. See e.g. Alison Flood, ‘US Publishing Remains “as White Today As It Was Four Years Ago”’, The Guardian (2020): https://www. theguardian.com/books/2020/jan/30/us-publishing-american-dirt- survey-diversity-cultural-appropriation. 31. See Melanie Ramdarshan Bold’s important studies of diversity in publishing in the UK, revealing a lack of representation persisting despite high-profile diversity campaigns – including ‘The Eight Percent Problem’ (2018), and Inclusive Young Adult Fiction (2019). The 2011 census identified 86% of the UK population as white (Office for National Statistics, ‘Ethnicity and National Identity in England and Wales: 2011’; whereas in 2017 the publishing industry was deemed to be 90% white (Alison Flood, The Guardian, 6 September 2017). For an interdisciplinary cultural perspective on how race impacts on cultural production more widely, see Anamik Saha, Race and the Cultural Industries (2017). 32. See Anamik Saha and Sandra van Lente, ‘Rethinking Diver- sity’ (2020): https://www.spreadtheword.org.uk/wp-content/upl oads/2020/06/Rethinking_diversity_in-publishing_WEB.pdf. 33. See Speaking Volumes’ website, https://www.speaking-volumes. org.uk (accessed 21 February 2019). PEN International is a charity championing the work and lives of imprisoned and persecuted writers internationally, and has national branches in many coun- tries. 34. See 4th Estate’s salon page: https://www.4thestate.co.uk/tag/4th-est ate-literary-salon/ (accessed 14 February 2019). 35. See LDM’s website: https://www.literarydeathmatch.com (accessed 14 February 2019). 36. LDM is currently dormant. 37. See Book Slam’s website: https://bookslam.com (accessed 14 February 2019). 282 Notes 38. Faber Social was founded in the late ‘00s. See Faber Social’s website: https://fabersocial.co.uk (accessed 14 February 2019). 39. See The Moth’s website: https://themoth.org (accessed 14 February 2019). 40. For an exploration of the growth and impact of The Moth, see Catherine Jo Janssen, ‘An Ethnographic Study of The Moth Detroit StorySLAM’ (2012).
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