I do Christmas, but in a thoroughly pagan way: Christmas to me means quiet lazy mornings of tea and crosswords, an excess of presents, masses of food.

In nice news, The Business Times Books column included ACE in its ‘best of 2014’ list. Hurrah!

Plus an author interview I did for a student publication a few months back has surfaced on the internet. I hugely enjoyed chatting with Dustin and I’m really tickled by how random the resulting write-up has been.

And here’s the Facebook event for January’s AWARE/Etiquette Roundtable.

Women writing

Happy holidays y’all.


Enormously flattered that ACE has been chosen by Jeremy Tiang as one of his two picks for My Book of the Year. Thank you, Jeremy!

The last month has been illness, on and off. And reading, of course: revisiting Are You My Mother? (I liked it better this time, knowing in advance it would be more abstractly intellectual, less of a sucker punch of passion than Fun Home); tumbling through House of Leaves (my feelings are broadly similar to those in this Guardian review); now alternating between Michelle Alexander’s The New Jim Crow and Marjane Satrapi’s Embroideries.

Oh yes and I will be speaking at an AWARE Roundtable on gender and writing on 7 January! Honoured to be sharing the panel with Tania de Rozario, Stephanie Dogfoot and Verena Tay. Do come!

Excerpt and interview in Junoesq

New literary journal Junoesq contains both an excerpt from A Certain Exposure and a (somewhat terrifyingly prefaced) interview with me. It has just occurred to me that my reference here to auto-flush toilets follows a previous interview in which I describe my feelings about the publication of ACE in terms of not soiling myself. I might need to work on this public persona thing.

Kindred and Wires

Following my earlier ambivalence toward Octavia Butler, and on the recommendation of ACE* editor Jason Lundberg, I finally got around to reading Kindred and basically, Jason is right, it was pretty much what I was looking for. It has that air of sparse factuality – the sense of being transparently a premise-based, “what if”-driven, story – that I strongly associate with USAmerican mid-20th-century science fiction; but it’s a lot more emotionally and politically sophisticated than I often think of that work being. The evolution of the relationships in it is superb – suspicion and distance growing so relentlessly and yet so convincingly casually. I will definitely be reading more.

I’ve also found myself dipping into and out of my collected Larkin over the last week or so and it has felt like stretching some lately seriously underused language muscles, in intense snatches on the bus or as I finish my morning cup of tea. In any case, it might interest ACE readers to know that in an earlier draft I prefaced chapter two, the 1987 sequence, with a few lines from ‘Wires’. I really felt my sapling novel needed a stake (or two, or a dozen) – it was more fiction than I’d strung together for about a decade, at the time, I think – and ‘Wires’ it was; though the supports came off in the final product.

by Philip Larkin

The widest prairies have electric fences,
For though old cattle know they must not stray
Young steers are always scenting purer water
Not here but anywhere. Beyond the wires

Leads them to blunder up against the wires
Whose muscle-shredding violence gives no quarter.
Young steers become old cattle from that day,
Electric limits to their widest senses.

* I’m going to start calling A Certain Exposure that on this blog, because, well, laziness and extra characters to type and having to refer to my own book a lot and that.