Manu Joseph and George Makana Clark are both
appearing at the Edinburgh Book Festival this year, and their debut
novels - Manu's SERIOUS MEN and George's THE RAW MAN - are both up for
the Newton First Book Award, for which readers can vote here.
Manu Joseph's event at the Edinburgh Festival will take place on Thursday 25 August (7-8:15pm). Please click here for more information on the event and here for more information about the author.
George
Makana Clark's event at the Edinburgh Festival will take place on
Monday 15 August (3.30-4.30pm) and he will also be reading at the Amnesty International Imprisoned Writers series right afterwards. Please click here for more information on the event and here for more information about the author.
PRAISE for Manu Joseph
'One
of the strongest debuts of 2010, this bittersweet Mumbai tale of high
minds and low plots [is] more Lucky Jim than White Tiger…. Touching,
hilarious, this collision between the Mumbai of stars and of mud
rediscovers a deep Indian vein of humane and sophisticated comedy.' -- Independent
'Manu
Joseph shows how petty jealousies in India can motivate and divide as
surely as major societal differences. His skills as a writer are
tremendous - he invests even the most ordinary interactions with keenly
observed human quirks, and almost every sentence is a joy to read for
its ingeniously constructed language. This is a compellingly
entertaining novel - witty, subversive, extraordinarily perceptive,
deliciously wicked.' -- Manil Suri, author of THE DEATH OF VISHNU
'The
finest comic novelists know that a small world can illuminate a culture
and an age. With this funny-sad debut, Joseph does just that for
surging, fractious India.' -- Boyd Tonkin, Independent
'Manu
Joseph's satirical tale of an ostensibly new India still in thrall to
its caste-ridden and sexist traditions is so much more than a mere comic
caper.' -- Catherine Taylor, The Guardian
'Manu Joseph's
first novel elegantly describes collisions with an unyielding status
quo, ably counterpointing the frustrations of the powerless with the
unfulfilling realities of power. With this astute comedy of manners he
makes a convincing bid for his own recognition as a novelist of serious
talent, the latest addition to a roster of Indian writers who are
creating fine literary art from their country's fearsome
contradictions.' -- Peter Carty, Independent
PRAISE for George Makana Clark
'Once
the reader has gone past the first chapter - no, the first page - his
chances of putting down the book are small: a story-ghost prowls the
halls of this book, dragging the reader through its 12 doors, never
letting go until the tale is told. It oscillates between realism,
fantasy, folk tale, mythology and history...The main character...is only
a quarter black...but his soul is 100% African, and a sense of his
mystical connection to the land is one of the things that lends THE RAW
MAN its power. He is a blood reader, an art inherited from his Xhosa
grandmother...Makana Clark seems to be saying that the true essence of a
man, his true story, is more than skin deep; it resides in the
blood...Makana Clark has been compared to Coetzee and Conrad...His
publishers claim "THE RAW MAN is a revelatory work of fiction, and one
that is impossible to forget." It is.' -- Helon Habila, The Guardian
'THE
RAW MAN is an extraordinary novel, and a work of rare conception,
bringing together, within one individual, the painfully conflicted
history of southern Africa.' -- Brian Chikwava, author of HARARE NORTH
'George
Makana Clark's THE RAW MAN is a doozy of a debut, unapologetically
ambitious and suffused with a rare emotional intensity…Makana Clark
creates a narrative voice of hallucinatory power and endless
playfulness, even in the midst of horror.' -- Booktrust
'We
are taken on this journey in chapters that could stand alone as
stories. These smaller tales seem to reflect a cultural heritage,
passing on tradition and history through folklore imbued with symbolism
and the supernatural. This folklore expands outwards, stories enclosing
stories, until it is finally encapsulated in something that we could
call a novel. The book therefore symbolises not only the struggle for
the identity of a single man, but also of a people faced with the
collision between Western colonial traditions and their own cultural
heritage. [H]is story builds such a complex web with its own symbols…At
any rate, this is a fantastically imaginative and enjoyable book to
read.' -- Ben Carson, Think Africa Press