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A Christmas Carol
Join us at Eastside Books for the abridged version of Dickens’ classic A Christmas Carol read by Steve Wells. After a well received event last year Steve returns with his animated telling, bringing the characters to life before the audience’s eyes. There will be mulled wine and mince pies a-plenty. Great fun for all ages. Places must be reserved in advance by calling Eastside Books on 0207 2470216 between 11am and 6pm Tuesday to Sunday or emailing lit@nquentinwoolf.co.uk ADMISSION: £4
DATE: Saturday 12th December
TIME: 2:00pm
VENUE: Eastside Books, 166 Brick Lane, London E1 6RU
TELEPHONE: 0207 2470216
TRANSPORT: Equidistant from Bethnal Green, Liverpool Street and Aldgate East tubes
Our recently published anthology of short stories and poetry contains writing from a diverse group of writers who meet each week ar Eastside Books in Brick Lane. The book holds a vivid cast of characters, all of whom have a connection with a certain bookshop in a certain East London street. Private detectives and aid workers rub shoulders with Holocaust survivors and down-and-outs;obsessives discover true love and jackpot winners discover who their true friends are. In amongst the fiction, the true story of Brick Lane and it’s envorons is told in bite-size pieces: from the contemporary East London music scene to warring ideologies, from the issue of East End poverty to the importance of choosing the right beigal, The Bookshop In Brick Lane has writing to suit every taste.
The authors of this book meet each week at Eastside Books in Brick Lane and are:
Linda Chapple, Marybel Moore, N Quentin Woolf, Ced Chen, Stefano Peter Pini, Warren Davis, Helen Gilbert, Shuab Parvez, David Pidgeon, Dan Nicolai, Madeleine North, Marc DuBois, TJ Howard, Jill Young, Tera Brouwer, Gareth Storey, Frances Wasswemann-Bildner, Peter J Mahon, Jane Miller, Kiki Sousa Otto
Please join us for the launch party at 8pm on December 3rd for drinks and nibbles.
Sarah Waters
A busy weekend at Eastside Books in Brick Lane, where amongst other happenings I had the chance of a sit-down with novelist Sarah Waters. A pleasant and unassuming sort, she told me she’s in a bit of a hiatus at the moment; various ideas for the next novel are bubbling away nicely in her unconscious but are yet to coalesce into something recogniseable. Having been nominated for the Man Booker probably goes some way towards assuaging the writerly self-doubts that often accompany such unanchored times between novels. I wonder how the attention over the nomination has worked for her – she seems rather a private person.
Keen as ever to hone my interview technique I asked her what her least favourite interview question has been. ‘Why the 19th Century?’, she decided. The question is lazy, of course, but it’s the frequency with which it is asked, requiring the same long-winded answer, that really gets her down.
I was keen to apply this new piece of intelligence. The very next day, an opportunity to put it into action came about as I interviewed, on The Arts Show, a clarinettist, a composer, an artist who works with pubic hair and a kids’ fantasy author, respectively. I carefully avoided making so much as a mention of the 19th Century. Lo and behold, the show went swimmingly. With this simple avoidance-of-19th-Century-related-questions ace up my sleeve, I feel equipped to take on the world.
Hm.
Alan Gilbey
On Monday evening the visually-oriented Alan Gilbey beat his migraine and put in a sterling 2-and-a-half-hour set on screenwriting. Highlights included a 100-year-old cartoon (the first ever to include a recogniseable character), a surreal, nightmarish example of production line animation, and a sweet stop motion short film, which he used to explain certain techniques of structure and pacing. Attendees were shown how to develop a pitch, too.
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