I headed onwards from Tokyo to Sydney for the Society for the History of Childhood and Youth conference at Australian Catholic University. Sydney wasn’t as high on my personal wish list as Tokyo, but it was still amazing to get the chance to spend time there (and in the Blue Mountains):
I read two books not from my 20 Books of Summer list in Sydney (and started The Nix and Atlantic Winds as well):
Never Far From Nowhere, one of Andrea Levy’s earlier novels, actually felt much more original to me than her later, more well-known works The Long Song or Small Island. Perhaps this is simply my aversion to much historical fiction, or perhaps Levy herself wrote better about more contemporary times and places. Technically, Never Far From Nowhere, published in 1996, is historical fiction: set on a council estate in the 1970s, it revels in the details of teenage life in that decade, from bovver boots to tights with carefully-positioned rows of holes to hippie hair to Ben Sherman checked shirts. However, Levy is clearly drawing on her own experiences growing up in Islington (although the book is set in Finsbury Park) and so this deluge of detail feels properly authentic.
Never Far From Nowhere follows two sisters, Olive and Vivian. Neither of them is traditionally likeable. Olive, darker-skinned and both much more acutely aware of her blackness and more willing to adopt it as an identity, leaves school with no qualifications and struggles in a series of short-term jobs. She rows constantly with her mother, but her younger sister, Vivian, is jealous of how Olive always seems to be the centre of attention, the one that their mother really cares about. This is despite the fact that Vivian makes every effort to meet their mother’s expectations: she works hard at grammar school and has ambitions to go to art college. Levy carefully balances the family dynamics, not allowing her story to become a simple binary between a ‘good’ and ‘bad’ sister.
The plot also plays with ideas of a ‘good’ and ‘bad’ working-class immigrant – Olive and Vivian were both born in England, but their parents emigrated from Jamaica. ‘Mouthy’ Olive ends up on benefits and doggedly chases up a council flat; Vivian aspires to be socially mobile and keeps her mouth shut when her friends toss around racial slurs. Olive’s recalcitrance seems deliberate; why should we only have sympathy for those who are doing all the right things? And despite Vivian’s academic intelligence, it’s Olive who is clearest about the structural oppression the sisters face in England, although she can be strikingly naïve in certain situations. Never Far From Nowhere lacks deliberate structure; it’s a slice of these sisters’ lives, and ends at a point that feels largely arbitary. It’s also a pretty grim read. Nevertheless, Levy’s portrayal of 1970s north London through the eyes of these two sisters stands out.
Because I work on young people’s writing in post-war Britain, I was excited to read Rife: Twenty-One Stories From Britain’s Youth, a collection of essays by young people aged sixteen to twenty-four, edited by Nikesh Shukla and Sammy Jones. Unfortunately, I was disappointed in most of these essays on a number of counts. Firstly, it has to be said: most of the writing here isn’t very good. I know from reading blogs, short stories and novels written by young/er people, as well as from reading the writing of my own undergraduate students, that writers in their late teens and early twenties are as capable of producing wonderful and insightful prose as any other group of writers. However, I worry that others reading this collection will lazily assume that nothing better can be expected from young people.
The problem possibly lies in the way many of these essays were produced: rather than seeking out twenty-one independent contributions, a lot of these essays emerged from a single project at Watershed in Bristol, which produced Rife magazine. Whatever the process was, it seems to have encouraged many of these writers towards a ponderous and formal style; individual voice is smothered and a lot of the essays sound the same. Rather than drawing on personal experience, many of the essays pontificate on very familiar topics: the rental crisis, poor funding for mental health and university fees. (One essay on the university experience was particularly enraging; the writer rightly criticises high fees but seems to blame lecturers for not providing ‘value for money’ e.g. for going on strike over staff pensions, rather than government policies. I know from talking to my own students about these issues that many undergraduates are not this short-sighted).
My second problem with this collection is more an issue of personal preference. Most of these writers talk about their experience as young people by invoking the language of generational inequality; making the usual arguments about the unfairness of rising house prices, unemployment and student debt in comparison to the experience of their parents’ generation. While I agree with these arguments, I was hoping that these writers might have more to say about the way that age itself acts as an oppressive category. This may in its turn result from the limited range of ages represented by the contributors. The majority are in their early twenties – already looking back on adolescence. The one essay that is obviously written by a teenager, ‘Sweet Sixteen: Kiss, Marry, Vote’, was one of my favourites. Amber Kirk-Ford effectively challenges the relevance of chronological age, arguing: ‘If some sixteen-year-olds are disengaged or badly behaved, that is equally true of apparent grown-ups… [not giving sixteen-year-olds the vote] is based on the myth that all young people are exactly the same, and are less mature than adults’. Other essays worked well for me despite the fact that they weren’t focused on questions of age because of the way they explored other intersectional identities; for example, Shona Cobb’s essay on her experiences of living with Marfan Syndrome, ‘Exclusion’, and Mariam Khan’s essay on being an hijabi, ‘My Body, My Choice’. On the whole, however, while I think projects of this kind are really important, I’ve read much better writing by teenagers and young adults elsewhere.
I received a free proof copy of this collection from the publisher for review. It’s out in the UK on 11th July 2019.
Edit: I meant to add my (dissatisfied) thoughts about The Nix and Atlantic Winds to this post and forgot, so here are links to my Goodreads reviews:
The Nix (**1/2), DNF @ 35%
Atlantic Winds (**1/2), only finished because it was so short