ELICITE – THE NEW FINE WINE SITE YOU NEED TO FOLLOW

Ever find yourself staring at the wine list and praying that you’re not the Chosen One when it comes to selecting the drinks for the table? The launch of Elicite offers a straight-forward, simple education to fine wines that will have you sounding like a sommelier in no time, as well as selling a range of exquisite wines and Champagnes for you to try.

Explore

No matter what you’re keen to showcase, whether it’s your knowledge of varying regions, appellation or food pairings, there are digestible videos, features and snippets that will bring your knowledge up in no time.

Experience

The ‘Shop’ section is a treat for the eyes and naturally, the palette. Prices vary hugely so whatever your budget, there’s something that you can be proud to bring to the dinner table. Magnums, bottles and full collections are available on the site.

Events

Yet to be updated on the site but keep your eyes peeled for bespoke events. The team are keeping deets close to their chest but we expect the events will be a classy and educational affair.

Check out the Elicite website to start your fine wine journey!

A PUBLISHER’S YEAR: FEBRUARY – ROMANCE, CRIME, APPLICATIONS

To pick up on the cliffhanger of last month – the exciting Romantic Novelists’ Association news is now public! They are running a new prize from this year, which we have agreed to sponsor. It is officially called the Sapere Books Popular Romantic Fiction Award. The shortlist of six books has been announced. In the running are THE LION TAMER WHO LOST by Louise Beech, ONE THOUSAND STARS AND YOU by Isabelle Broom, YOU ME EVERYTHING by Catherine Isaac, THIS COULD CHANGE EVERYTHING by Jill Mansell and A SKY PAINTED GOLD by Laura Wood. I do have a personal favourite but my lips are sealed until the winner is announced on March 4th!

We are still looking for our first staff-member. Applications are just about closed but we have well over 100 to go through, so that will keep us busy for the next few weeks! We’ve also had our first responses to our ‘Call For Nautical Fiction’ and it looks like we’ll be able to announce some naval fiction deals soon. We have just finalised our schedule for London Book Fair and we are pretty booked up for all three days, plus some evening events so that will be a full-on week for us!

The published titles for this month were a mix of genres. We published Valerie Holmes’ second Regency romance novel in her Yorkshire Saga just in time for Valentines Day. We’ve also published one of our first non-fiction titles: a ‘deadly’ history of the Thames in London by Irish author, Anthony Galvin. That was followed by two classic mysteries: THE PAINTED FACE by Jean Stubbs and STEP IN THE DARK by Elizabeth Lemarchand. Finally, we launched two action-packed thrillers: David Beckler’s debut, BROTHERHOOD, set in urban Manchester and John Matthews’ thought-provoking gun-control thriller, THE SECOND AMENDMENT.

Our final piece of news is that we will be going to CrimeFest this year for the first time, which we are thrilled about. Last year we went ‘on tour’ to cover the Crime Writers’ Association Conference in Shrewsbury and the Historical Novelists’ Conference in Cumbernauld, and to contribute to a writing panel in Chorley. We aren’t actually speaking at CrimeFest so it will be fun to just enjoy all the talks, dress up for the Gala dinner and of course, hang out at the bar 😊. We should find out the longlist for the Sapere Books Historical Dagger Award as well, which is very exciting.

Come back next month for our Book Fair news, March releases, RNA award announcements and potentially a hello from our new Editorial Assistant!

Amy Durant

 

 

IT’S TIME TO START SHOWING THE SCI-FI GENRE SOME LOVE

Science-fiction may be enjoying a meteoric sales boom but it’s still not receiving the acclaim it deserves, writes the British novelist Hannah De Giorgis.

By Hannah De Giorgis

When it comes to the perception of Science Fiction and Fantasy (SF&F) as a genre, there’s a tension between its commercial success and its critical reputation. This time last year, it was reported that combined print and digital book sales in SF&F genres had doubled since 2010.

Today, unit sales of self-published and Amazon-published titles represent almost 50% of all SF&F sales across print, digital and audio. Elsewhere, and especially on the Big Screen, the popularity of SF&F shows no sign of abating: movies including the Maze Runner: The Death Cure, Black Panther, Annihilation, Jurassic World: Fallen Kingdom, and Solo: A Star Wars Story grossed billions of dollars at the Box Office and outsold most other genres.

Given its commercial dominance and crossover potential, one might assume that SF&F would carry the same kudos as other acclaimed genres. And yet, when it comes to the “literary” world, it doesn’t.

Despite its importance in popular culture, SF&F is often overlooked and underappreciated critically. For instance, SF&F is rarely offered as a module in undergraduate literature degrees – and, when it is, the relevant lecturer laments that it is regarded as a “lesser” genre. Meanwhile, in literary circles, science-fiction and literary speculative fiction is routinely dismissed and overlooked for most (if not all) of the more prestigious literary prizes. Perhaps because a potential consequence of being regarded as more “mainstream” can automatically render a book as less “serious”.

However, such a dismissal is – I think – unfair. Not only does SF&F arguably require more imagination than most other genres, it also allows writers to really delve into the potential repercussions of technological advancement in modern society. In some cases, sci-fi novelists will possess a comprehensive understanding of the laws of physical sciences, and in others fantasy novelists might fabricate an entirely new world from scratch.

In the glamorous world of film, the problem is less acute; blockbusters like The Martian and Interstellar have and do attract acclaim. That acclaim, however, only goes so far. Interstellar, for instance, was nominated for Academy Awards in categories such as special effects but not for overall picture. The Martian, on the other hand, which of the two movies is more “realistic”, was nominated for Best Picture.

While it would be disingenuous to suggest that critical acclaim is only reserved for Hollywood, it is fair to state that SF&F receives more recognition in the world of film than in the world of literature – and that’s not simply a consequence of the asymmetry of the two industries. And, when I think about it, this shouldn’t be the case given the important role that SF&F has and continues to play in our lives. Sci-fi, in particular, has long been a reflection on society: it shines a spotlight on mankind’s lust for and dependency on emerging technologies, arguably in a manner that would not be nearly as effective if it were not in the sci-fi form. Indeed, SF&F authors have for decades paved the way for Hollywood by daring to explore the potential repercussions of a world that is increasingly advancing technologically. Moreover, the genre offers an imaginative scope that is, in effect, unlimited – as can be demonstrated by many sci-fi movies or fantasy series that immediately spring to mind.

All I can hope is that, little by little, the literary world might cease to look down on SF&F and come to eventually recognise it for the innovative, limitless, and – at times – genius genre that it is.

Threads in Time by Hannah De Giorgis is available from today on Amazon priced £3.49 in Kindle edition and £7.99 in paperback.

Storage Solutions: Wilko Storage Trunk

Spring is in the air and we all know what that means. Yup, time to spritz the house and make it ready for the new season. We got sent this grey storage trunk from Wilko. It is spacious and it looks great. There is a detachable washable lining. This is perfect for laundry, toys, anything you can think of really.

The trunk costs £30 from wilko.com and we highly recommend it.

BLACK & BLUE STEAK RESTAURANT REVIEW

As you’ll have come to learn, here at Frost we are suckers for a good steak and have found YET ANOTHER affordable London based gem.

Black & Blue is a chain of four restaurants in the city and you’ll have probably noticed those blue neon signs dotted all over the city that, for us, are becoming as iconic as the Golden Arches.

We visited the Waterloo branch which is nestled in one of the station arches and the atmosphere hits you immediately. A soft hum of live jazz from the skilled artist near the bar, deep and rich coloured furnishings and low lighting make Black & Blue the perfect spot for date night.

The food menu is loyal to what you expect to see at a steakhouse. For starters, you can choose from soup, wings, skewers, tortilla chips or prawns and all cost between £6.50 and £9. We went for the crispy chicken wings with salt and lime and the king prawns with garlic butter. The batter on the crispy wings packed a brilliant punch and when drizzled with the lime – heaven! The portions were also generous which, for the low price, was a great surprise.

Somebody say steak? Obvs. Let’s be straight here, B&B serves a beautiful steak. You can choose from a Flat Iron, Ribeye, Fillet or a Cote de Boeuf (which comes for one or two share) and each comes with an indulgent sauce of choice. The steaks are hung in the traditional way and aged for up to 28 days and the flavours reflect the TLC that B&B gives up front. Rich, meaty and fairly priced. If you’re not wanting to succumb to steak (we don’t judge.), you can sample one of their burger, ribs or something from the chargrill menu. The chicken breast, mushroom, cream and thyme sauce VERY nearly swayed us!

Black & Blue also knows its wines and has strong selection to choose from. The Domaine Luquet Macon Blanc Villages, Burgundy, may be the priciest bottle on the menu at £38 but the crisp, dry flavour is just divine. As a bonus though, any bottle of wine is half price on Sundays and Mondays so maybe save on splashing out on then!

Visit the Black & Blue website to make a booking.

 

SISTER SCRIBES: CASS GRAFTON ON MRS GASKELL… ON CHARLOTTE BRONTE

The other day, I had the urge to watch North & South again, the well-received BBC dramatization of Elizabeth Gaskell’s second novel.

I’m not sure if this stemmed from a need to watch a classic film or simply the shallowness of wanting to wallow in Richard Armitage’s smouldering interpretation of John Thornton, but whatever the attraction, it did make me think about Victorian writers.

Written originally for Charles Dickens’ magazine, Household Words, North & South has more recently been dubbed the ‘industrial’ Pride & Prejudice. It is typical of the stories spilling from Mrs Gaskell’s pen at this time: ones that didn’t flinch away from contentious social commentary but always had, at their heart, a bit of romance – and a copious body count!

It wasn’t a novel, however, that first introduced me to Mrs Gaskell’s writing. Back in school, I was obliged to read Jane Eyre as a set book.  My teenage heart was swept away by the passion of Charlotte Brontë’s classic and, considering myself plain and unnoticeable, I relished reading about this ‘oh so ordinary’ heroine getting her man.

Intrigued by the story behind the author, I bought a copy of a popular biography of Charlotte – the aforementioned Mrs Gaskell’s account of ‘The Life of Charlotte Brontë, having no idea of the drama surrounding the book.

It was written at the invitation of Charlotte’s father soon after his daughter’s death in 1855. Encouraged by Charlotte’s close friend, Ellen Nussey, Patrick Brontë wanted Mrs Gaskell, also a friend of his daughter’s, “to publish a long or short account of her life and works, just as you deem expedient and proper”.

Mrs Gaskell was used to her own writing exciting controversy amidst the admiration, but although the biography attracted critical acclaim, it was not universally well-received, with some critics not appreciating the whitewashing of certain aspects of Charlotte’s life. Mrs Gaskell had been stuck between the proverbial rock and a hard place – after all, parts of Charlotte’s life (like anyone’s) were not really for public consumption.

More controversy, however, came back to haunt the author. Published in March 1857, the Life attracted enough attention for a second edition to be announced in May of the same year. Suddenly, though, the book was withdrawn from sale, due to the threat of libel proceedings on more than one count and general grumblings from those who felt they had been unfairly depicted in the book.

The three main issues seem to have been these: how Patrick Brontë himself was portrayed; the account of Charlotte’s brother, Branwell’s, decline – exacerbated by the implication of the influence of a ‘lady’, who was described in such a way, all of society knew her identity; and descriptions of Charlotte and her sister, Emily’s, time at the Clergy Daughters’ School at Cowan Bridge.

Mrs Gaskell went on to describe herself as being in ‘the hornet’s nest with a vengeance’ and referred to the biography as ‘this unlucky book’ in a letter to her publisher. Its overall success, however, meant the Life wasn’t going to disappear. Balancing out the unpleasantness of the above, Mrs Gaskell began to receive additional information, either from others who admired what she had already achieved or those who wanted to correct certain details.

She faced a daunting major revision, but set to and the third edition – Revised and Corrected – appeared in the November, less than six months after the original had been withdrawn from sale. It contained a substantial amount of new material.

Despite the challenges she faced, Elizabeth Gaskell did an admirable job, and her insight into the life of Charlotte Brontë is a fascinating read and one I would highly recommend to anyone who enjoys reading about Victorian authors.

As for myself, I think I’ll avoid any attempts to pen biographies for my writing friends and immerse myself in fiction instead – the visual rather than the written version on this occasion! Excuse me whilst I hit play again on North & South… I may be gone some time!

 

Sources: Various Gaskell letters, and Alan Shelston’s Introduction and Appendices to the Penguin English Library 1975 edition of Jane Eyre

 

What The World Needs Now Is Love. Balance Editor Interviews Peace Activist & Mindfulness Author

Annabel's Jungle Bar, annabel's, Catherine Balavage, Stephen Fulder, Sophie Scott, Mindulness, LoveIn a world that is so divided I was excited to head to Annabels to hear Sophie Scott, editor of Balance Magazine and Author and Peace Activist Stephen Fulder of What’s Beyond Mindfulness come together for a talk on mindfulness and love. Stephen Fulder was full of wisdom and Sophie Scott was adept at getting the wisdom by asking great questions. Fulder says that we have to love ourselves. It comes from within. He has spent time in Israel educating people to look differently at themselves and others. A 10-year-old Palestinian boy was so moved by Fulder and his words that he told him that he had seen so much suffering that he was sure he human heart was cold and hard, but meeting Fulder meant he then knew there was goodness in the human heart. Fulder says people have to tell themselves I am a whole human being. I love myself. That people have to be a friend of their spirit. We have to allow ourselves to be the shape we are.

When it comes with dealing with difficult and negative people he says that first; you have to look at the person. No automatic pilot. See the person and look at their pain. There will be a lot of ignorance and blindness. Protect yourself by not digesting the stuff. Refuse to let it get to you. Don’t let it get inside. Feel steady and stand your ground. Listen but do not take it in. See the buttons but do not accept it. Say ‘I see you, I see this, I let if go’.

Stephen Fulder is a buddhist but he says being buddhist does not mean taking everything but you have to challenge your ego. If you are the one in the wrong saying sorry has wisdom to it. It is gone, it is finished. A line drawn on the water is just gone. Started afresh in the garden of now.

We are conditioned to run after goals but we can stop and just be mindful. Be happy with our lives and who we are. Rather than just chasing the next thing. The key is joy.

This was a wonderful talk to discuss how we can heal division and conflict both at a societal level and also within our families and communities.  https://annabels.co.uk/events/january-wellness

Here is a link to a recent article that Fulder wrote for Balance on using mindfulness to heal conflict. https://balance.media/resolving-conflict-christmas/ Fulder is doing a tour of UK pubs bringing mindfulness to the masses called Buddha At The Bar.

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What’s Beyond Mindfulness is a life-changing guide on every aspect of modern life from using mindfulness to resolve conflict to how to age wisely, deal with tiredness, find fulfilment at work and make friends with your body, heart and mind. It’s a uniquely practical exploration of Buddhism in everyday life that will appeal to people of any faith and to those of none. What’s Beyond Mindfulness was a bestseller in Israel for 18 weeks and is written by leading Peace Activist Stephen Fulder, founder of the Israel Insight Society which has been at the helm of peace talks between Palestinians and Israelis and guided thousands of people in Israel and worldwide in exploring Buddhist teachings. The book is endorsed by Jack Kornfield and James Baraz.

The book is available here.

Call me Vicky at Pleasance Theatre London: reviewed by Paul Vates

 

Call Me Vicky  at The Pleasance Theatre, London  “I want to know more about this world and these people”

 ‘Based entirely on a true story’ makes for an interesting tale, but does it transform into an entrancing theatrical event? Ever so nearly!

Call Me Vicky is a part of the You Will Know Their Names New Writing Season at The Pleasance. The one-act play is about a young man in the 1980s, Martin, who has always known that he is a woman and is soon to undergo the full NHS treatment to become his true self: Vicky. In the meantime, we see his loving working class mother, Sylvie, so accepting and understanding, coping stoically with her child’s transitioning. Wendi Peters plays the part to perfection, handling the comedy and the pathos so gently that one feels her part is woefully underwritten. Maybe the whole tale is too obviously through Vicky’s eyes, whereas a different challenge would be to see Martin’s situation through the mother.

[Wendi Peters as Sylvie]

 

Martin/Vicky is played by Matt Greenwood, full of nuances and quirks, and, one would assume, having the shoulders upon which the play rests. Not quite. Luckily for him, not only does he have Wendi Peters, but Ben Welch – a gruff, loveable bear of a transvestite, singing, flirting with the audience and ad-libbing his way through the few sticky patches in the cabaret.

[Ben Welch as Fat Pearl]

 

Writers Nicola Bland and Stacey Victoria Bland both play fellow strugglers in this put-upon world, Debbie and Gabby respectively. Both have their own problems, both acting as useful devices in showing the huge heart and love for others that Vicky possesses.

[Matt Greenwood as Vicky]

 

A romantic twist occurs with the arrival of Sid, played by Adam Young. A gay punk who, not only plays against type, but genuinely stands by Vicky – there is so much that is tantalising about Sid’s story, too, that I feel director and dramaturg Victoria Gimby’s focus on telling Vicky’s truth, means the others have been left behind – they are all fascinating characters in a harsh world and somehow I felt short-changed. The actors are ultimately let down by a story, even if it is true, that is a little bit monochrome.

[Adam Young as Sid]

 

Wonderfully designed by Martha Hegarty, in what is a difficult space – far wider than it is deep – the play fair zips along, but I want to know more about this world and these people.

 

Photographer           Fabio Santos

Producer                  Post-It Productions

Playwrights              Stacey Victoria Bland and Nicola Bland

Director                    Victoria Gimby

Set Designer            Martha Hegarty

 

Venue                      Pleasance Theatre, North Road, London N7 9EF

Tube                         Caledonian Road (Piccadilly Line)

Performances          until Saturday 9th March 2019

Times                       8pm Tuesday to Saturday, 6pm Sundays

(3.30pm Saturday 9th March)

Tickets                     from £12

Box Office                www.pleasance.co.uk and 020 7609 1800

Running Time          75 minutes (no interval)

Twitter                                 @callmevickyplay, @ThePleasance, #CallMeVicky

Age                          14+