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    The description :skip to content christopher priest writer of the prestige, the gradual and more menu about awards & nominations career chronology photos visual media books the gradual extract from the gradual rev...

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skip to content christopher priest writer of the prestige, the gradual and more menu about awards & nominations career chronology photos visual media books the gradual extract from the gradual reviews of the gradual the adjacent extract from the adjacent reviews for the adjacent the islanders reviews for the islanders the dream archipelago reviews for the dream archipelago the separation reading in a war: a bibliography for the separation i: histories ii: biographies iii: memoirs of important participants iv: adventures of unimportant participants v: miscellaneous books vi: reference works vii: rudolf hess summing up reviews for the separation the extremes reviews for the extremes the prestige interview about the prestige reviews for the prestige the prestige (film) the book on the edge of forever reviews for the book on the edge of forever the quiet woman reviews for the quiet woman the glamour reviews for the glamour the affirmation reviews for the affirmation an infinite summer reviews for an infinite summer a dream of wessex reviews for a dream of wessex the space machine reviews for the space machine real-time world reviews for real-time world inverted world reviews for inverted world fugue for a darkening island reviews for fugue for a darkening island indoctrinaire reviews for indoctrinaire anthologies edited contact essays arguments independent cinemas pax ortygia the scars of war the state of publishing: 1 the state of publishing: 2 the state of publishing: 3 top ten slipstream books contemporaries portrayed a meeting with richard cowper bob shaw david langford john brunner john wyndham & h g wells keith roberts kingsley amis richard cowper (john middleton murry) film the gradual the glamour the extremes the space machine the separation a dream of wessex the quiet woman inverted world the islanders the prestige (it is done) grimgrin “it” came from outer space ersatz wines real-time world real-time world +2 the magic: the story of a film cat and arc june 9, 2018 june 9, 2018 chris gollancz have sent me the first proof copies of my new novel, so i gave one of them to my most insistent reader and fan. djanga condescended to wake up, but said she would not be able to read the book until later this year. she wants me not to keep bothering her about it. i can’t see the author’s name anywhere … american stories march 27, 2018 june 10, 2018 chris here is the cover from gollancz for my next novel an american story . it will be published on 6th september this year: the visual approach is interestingly different from the french interpretation of the same book, as is the title (see below), but a certain theme is consistent. on this subject i merely say: the american story is not what might seem apparent from this thematic consistency, and the consequences are the real story … last week i was in oxford to contribute to a celebration of the life and work of brian aldiss, as part of the oxford literary festival. other participants included robin straus (brian’s american literary agent), samuel fanous of the bodleian library (repository of the aldiss papers), thomas lodge (actor, brian’s grandson via wendy aldiss), petronilla whitfield (actor, and frequent collaborator with brian), and michael moorcock (in a message read by marcus gipps). there was also an ancient television interview with brian, where he spoke amusingly about masturbation, and a song from ella fitzgerald, “cow cow boogie”. a second panel discussion followed, with philip pullman, claire armitstead and sophie ratcliffe, more general in nature, about the relationship between literature and genre. speaking of literature and genre, i have just read the booker and the best , a kindle single from nicholas clee. this raises the question of why genre writing is not taken seriously by the perceived literary establishment, and why science fiction and thrillers, in particular, never make it to the shortlists of the major literary prizes. (one could point out the paradox that brian aldiss, one of the finest literary stylists in the english language, was never a contender in these prizes.) clee doesn’t reach a firm conclusion, but his discussion of the problem is interesting and involving, and full of good sense. it only costs a quid from amazon, so do grab a copy . french consequences march 14, 2018 chris here is the cover illustration for my next novel, from my french publishers lunes d’encre (an imprint of denoël). the title in english ( an american story ) cannot be used in france, as there is a pre-existing book with that title in french. i like the variant title almost as much, as the book is essentially about consequences. publication date will be towards the end of this year, but it is hoped that advance copies will be available while i am working in paris, in september. an american story will be published in the uk by gollancz, on 20 september. i have recently delivered another book to gollancz: a narrated short story collection called episodes . no publication date has yet been agreed. slightly more than a year to go february 26, 2018 february 26, 2018 chris here is a recent photograph. the title is the morning of 30 march 2019 . any questions? copyright christopher priest ursula january 24, 2018 january 24, 2018 chris bereavement is a variant of ‘bereft’ – we are all bereft by the loss of ursula le guin. she was a supreme writer and thinker, one of the greatest of all american writers and perhaps the best ever to have graced us with her fantasy and science fiction. she was a better writer than any of us, past or present – we have lost our benchmark of excellence. i would feel presumptuous to claim ursula as a personal friend, but i knew her for much of the period, in the mid-1970s, when she and her husband were living in london. she was not as famous then, but she was just as sage, perceptive, sharp-witted, kind. she was a huge influence on me during that still-formative period, and her dry comments on the few things of mine she read were shocking in their power of illumination, but also stimulating and encouraging. whether she liked what i wrote, or not, was always irrelevant. she understood. one of my short stories, ‘the negation’, is a disguised but also explicit account of my meetings with her. a sequel to that story, set a few years later, appears briefly in the islanders . her recent book, words are my matter (small beer press, 2016), contains some of her best essays on literature. it includes one called ‘genre: a word only a frenchman could love’, which is the definitive analysis of the way fantastic literature is misunderstood by those who describe it as ‘genre fiction’. everyone the least interested in what she wrote (and also we who follow, trying to keep up) should buy and read this book. it is a fine and sustained argument – humane, eloquent, sometimes funny – expressing the beauty and importance of the fantastic. ursula’s acceptance speech in 2014 for the national book foundation medal for distinguished contribution to american letters (a.k.a. the national book award) is included in words are my matter , under the title ‘freedom’. it can be read here. it sums her up perfectly – not all of her, but the huge bit of her that was devoted to books and literature. we have lost ursula le guin, a nice woman, a brilliant, generous, sweet-natured, liberal, skilled, inimitable woman. now we have to go on without her, bereft. vision back on november 12, 2017 november 13, 2017 chris about five years ago my then optician peered closely, and said, “you are developing cataracts.” he advised there was nothing that needed to be done, nothing to worry about. two years later came the same warning – still nothing needed to be done. last year another optician said, “you have cataracts.” by this time i knew: when i looked at bright lights they were surrounded by haloes, daylight from windows tended to dim the rest of the room. reading small print in books was becoming a problem. cinemas invar

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