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Hello and welcome to The Culture Show, coming to you tonight from | :00:26. | :00:31. | |
the village of Comrie in Perthshire. 400 miles away in London, the | :00:31. | :00:34. | |
winner of the Man Booker Prize is about to be announced. But here | :00:34. | :00:37. | |
we're about to make a very special and, some would say, much more | :00:37. | :00:41. | |
democratic announcement at our own alternative ceremony. The villagers | :00:41. | :00:43. | |
here have been voraciously reading the novels on the Booker shortlist, | :00:43. | :00:53. | |
:00:53. | :01:09. | ||
and tonight we'll be finding out It's early September and the | :01:09. | :01:13. | |
shortlist for the Man Booker Prize has just been announced. In the | :01:13. | :01:15. | |
village of Comrie, people are gearing up for a Culture Show | :01:16. | :01:21. | |
reading marathon that's become a bit of an annual event. | :01:21. | :01:24. | |
I'm interested in the book about accuracy of memory, remembrance - I | :01:24. | :01:28. | |
can't remember the title offhand. I've got it written down. The Sense | :01:28. | :01:35. | |
Of An Ending. The villagers have agreed to read and score out of ten | :01:35. | :01:40. | |
as many of the Booker-shortlisted novels as they can. I've got a sea | :01:41. | :01:44. | |
story, I imagine, by Carol Birch. And The Sisters Brothers, which I | :01:44. | :01:48. | |
think is a western of some sort, and I'm looking forward to both of | :01:48. | :01:51. | |
them. For myself, Half Blood Blues, for | :01:51. | :01:54. | |
my sister, Jamrach's Menagerie, and for my boyfriend The Sisters | :01:54. | :02:03. | |
Brothers. I've got something for everybody. So, let me tell you a | :02:03. | :02:06. | |
bit about the books on this year's shortlist. Well, the official Man | :02:06. | :02:10. | |
Booker judges have come in for a bit of stick this year, because | :02:10. | :02:13. | |
there's only one book on there by a household name, and that's Julian | :02:13. | :02:18. | |
Barnes, and his book The Sense Of An Ending. Looking at the crits of | :02:18. | :02:21. | |
it, it's obviously going through the years for a man from childhood | :02:21. | :02:27. | |
to manhood and his experiences in between. It's a novella, so I think | :02:27. | :02:31. | |
I'll manage that. There are two books by first-time novelists, | :02:31. | :02:34. | |
who've both done really well to get on the shortlist. Pigeon English by | :02:34. | :02:39. | |
Stephen Kelman, and Snowdrops by AD Miller. Described as disturbing, | :02:39. | :02:42. | |
dazzling, electrifying and leaves you stunned and addicted. Well, I'm | :02:42. | :02:47. | |
all for that. The next one is Jamrach's Menagerie | :02:47. | :02:52. | |
by Carol Birch. She's a pretty established author. This is her | :02:52. | :03:02. | |
:03:02. | :03:03. | ||
11th book, but still not that not well known. Victorian London? | :03:03. | :03:09. | |
don't know any of these authors apart from Julian Barnes. You have | :03:10. | :03:13. | |
to give me some clues. The last two are by Canadian authors. The | :03:14. | :03:20. | |
Sisters Brothers by Patrick deWitt. And Half Blood Blues by Esi Edugyan. | :03:20. | :03:27. | |
That book is quite interesting, yes, the aftermath of the fall of Paris. | :03:27. | :03:30. | |
My sort of subject. I'm on parade for those. | :03:30. | :03:36. | |
What about you, what do you think? And stop scratching, you're on | :03:36. | :03:44. | |
camera. This is going to be the fourth time I've been to Comrie and | :03:44. | :03:48. | |
they have never once picked the book that's one, so I'm looking | :03:48. | :03:54. | |
forward to hearing what they will make of this lot. | :03:54. | :03:56. | |
It's been two weeks since the villagers started their reading, | :03:56. | :04:03. | |
and I've come to Comrie to find out what they think. My first stop is | :04:03. | :04:06. | |
the coffee morning at the Women's Institute Hall, where I've arranged | :04:06. | :04:09. | |
to meet Ian Pinkerton, who's been reading The Sisters Brothers by | :04:09. | :04:19. | |
:04:19. | :04:19. | ||
Patrick DeWitt. Hi, Ian. How are you doing? | :04:19. | :04:22. | |
The Sisters Brothers is a Western, set during America's gold rush, and | :04:22. | :04:25. | |
tells the story of two brothers, both professional killers, who make | :04:25. | :04:28. | |
a journey across the Wild West, taking out anyone who gets in their | :04:28. | :04:36. | |
way. I was quite intrigued by that book as a story. I had an | :04:36. | :04:40. | |
interesting visual response to it. I regarded it as like a black and | :04:40. | :04:44. | |
white film. The behaviour of the characters is, shall we say, | :04:44. | :04:54. | |
:04:54. | :04:55. | ||
outrageous, but this is 1851. I would commend it as a book. | :04:55. | :05:02. | |
does this compare to previous Booker...? I would say better. | :05:02. | :05:06. | |
Maybe that's the best one that I have read. | :05:06. | :05:10. | |
Next I head out of the village to check in with Norma Mitchell. She's | :05:10. | :05:13. | |
been reading Pigeon English by Stephen Kelman, a story narrated by | :05:13. | :05:16. | |
a Ghanaian boy, a recent immigrant to Britain, who decides to try to | :05:16. | :05:20. | |
uncover the truth behind the brutal murder of a child on the South | :05:20. | :05:30. | |
:05:30. | :05:31. | ||
London estate where he lives. Hi Norma. Hi, how are you? I'm good. I | :05:31. | :05:38. | |
like your wheels. The first book you read... It was Pigeon English. | :05:38. | :05:48. | |
:05:48. | :05:49. | ||
Stephen Kelman. There you go. you. | :05:49. | :05:51. | |
Thank you. An exceptional first novel, absolutely wonderful. I | :05:51. | :05:54. | |
think because it's narrated by an 11-year-old boy it works. You're | :05:54. | :05:57. | |
captivated by him, he's such a sweet, naive boy, but as time goes | :05:57. | :06:00. | |
on, in this inner city environment, I think he's slowly corrupted, bit | :06:00. | :06:05. | |
by bit. You have a sense of foreboding that something's going | :06:05. | :06:08. | |
to happen at the end, and at the end it just comes and hits you | :06:08. | :06:15. | |
pretty quickly. But first-time novel, absolutely excellent. | :06:15. | :06:20. | |
turns out Norma's not the only fan of Pigeon English. It was sad, it | :06:20. | :06:25. | |
was comical, it made me laugh out loud. And it was really thought | :06:25. | :06:28. | |
provoking. It was really really well written. I liked the warmth of | :06:28. | :06:31. | |
the family, the Ghanaian family which finds itself in this | :06:31. | :06:34. | |
situation. And the very fact that through all of the difficulties | :06:34. | :06:37. | |
through which they have to pass, living in this high-rise flat with | :06:37. | :06:39. | |
a largely antagonistic grouping round about, the family hangs | :06:39. | :06:49. | |
:06:49. | :06:56. | ||
together. It was alright. Any book that can make you laugh out loud is | :06:56. | :07:00. | |
worth every prize there is out there. It is a book for those who | :07:00. | :07:03. | |
are able to look beyond the words and look into the critical | :07:03. | :07:10. | |
situation in which a young boy finds himself, in an alien culture. | :07:10. | :07:14. | |
Fancy meeting you here. Who would have thought... | :07:14. | :07:17. | |
My old friend George Carson has been reading Half Blood Blues. It's | :07:17. | :07:20. | |
about a mixed race German musician who's disappeared during the Nazi | :07:20. | :07:30. | |
:07:30. | :07:30. | ||
occupation of Paris. This is a book I've just finished. | :07:30. | :07:33. | |
Written in Baltimore slang, and cutting between 1940 and 1992, the | :07:33. | :07:36. | |
story is told by a fellow musician, who's been harbouring a dark secret | :07:36. | :07:42. | |
for more than 50 years. At first I didn't think I'd like it, but I | :07:42. | :07:45. | |
really got quite engrossed in it. And the language I didn't | :07:45. | :07:47. | |
understand, a patois, but once I recognised what they were talking | :07:47. | :07:54. | |
about, I appreciated the rhythm. Can I just show you something? | :07:54. | :07:58. | |
I think it was page eight, just at the beginning. And I was quite | :07:58. | :08:02. | |
taken with this. And then I thought... "Me I was American. And | :08:02. | :08:05. | |
so light-skinned folks often took me for white. Son of two Baltimore | :08:05. | :08:08. | |
quadroons. I came out straight- haired, green-eyed, a right little | :08:08. | :08:16. | |
spaggot." There's a rhythm about the writing. The grammar's terrible, | :08:16. | :08:26. | |
:08:26. | :08:27. | ||
but the rhythm is great. I enjoyed it. Good. Your verdict? I thought | :08:27. | :08:34. | |
it was great. Very interesting, very powerful. But quite bleak. | :08:34. | :08:37. | |
book was dark, but there was the flow. What it was like in Nazi | :08:37. | :08:43. | |
Germany for people of colour was interesting, but quite scary. | :08:43. | :08:53. | |
:08:53. | :08:57. | ||
author of Half Blood Blues, Esi Edugyan, lives in Canada. Hello? | :08:57. | :09:04. | |
Hello, it's time in Cymru from The Culture Show. Hi, how are you? | :09:04. | :09:07. | |
good. She's agreed to chat to some of the | :09:07. | :09:11. | |
villagers on-line. How were you inspired to write this book? I was | :09:11. | :09:15. | |
in Germany. I'd been living there for about a year, and just coming | :09:15. | :09:17. | |
across this very quick, glancing reference to the children of white | :09:17. | :09:24. | |
German mothers and black colonial soldiers from France's colonies. I | :09:24. | :09:27. | |
was just completely fascinated by this and started looking more into | :09:27. | :09:30. | |
the history in general of black people in Europe, and in Germany in | :09:30. | :09:38. | |
particular. The whole story just sort of came to emerge out of this | :09:38. | :09:45. | |
detail. I felt the ending with the forgiveness side of it was very | :09:45. | :09:48. | |
strong, and although it was very bleak, I found that just so moving | :09:48. | :09:58. | |
and a fantastic end to the book. Somebody asked the other day, why | :09:58. | :10:01. | |
do you write, and for me it's always to move somebody, or to | :10:01. | :10:04. | |
write something that if it doesn't move you maybe you will think about | :10:04. | :10:14. | |
:10:14. | :10:15. | ||
it a little bit after you put it down. That's a really great | :10:15. | :10:25. | |
:10:25. | :10:25. | ||
compliment for me, so thank you very much, it's nice to hear it. | :10:25. | :10:31. | |
Thank you very much. Bye. In our previous reading marathons, | :10:31. | :10:35. | |
the villagers have met writers in London and talked over the internet. | :10:35. | :10:39. | |
No Booker-shortlisted authors have ever made it to Comrie before. But | :10:39. | :10:42. | |
today Stephen Kelman, author of Pigeon English, and Carol Birch, | :10:42. | :10:45. | |
author of Jamrach's Menagerie, have come to the village to meet the | :10:45. | :10:55. | |
:10:55. | :10:55. | ||
local Book Club. I'm giving them each a quick tour of Comrie first. | :10:55. | :11:02. | |
Hi, this is Carol. Nice to see you. She's the author of Jamrach's | :11:02. | :11:06. | |
Menagerie. Which I have read. It's fantastic, a young chap starting | :11:06. | :11:12. | |
off in the butcher's shop, with the description of what was going on | :11:12. | :11:18. | |
there. The butcher's down the road, did you read that? Yes. I very much | :11:18. | :11:25. | |
injoid your book. Enjoyed? I'm not sure enjoy is the word but I | :11:25. | :11:30. | |
appreciated and I hope you have great success. Thank you. | :11:30. | :11:39. | |
I can get on with picking my onions now. We've got bridies, Scotch pies, | :11:39. | :11:42. | |
steak pies and sausage rolls. Like Pigeon English, Carol's book, | :11:42. | :11:50. | |
Jamrach's Menagerie, has gone down well in the village. A super book. | :11:50. | :11:55. | |
I really enjoyed it. I liked the book. I thought it was well written, | :11:55. | :11:57. | |
and I think if you like particularly stories of the sea, | :11:57. | :12:00. | |
this covered it very well indeed. Jamrach's Menagerie is set in | :12:00. | :12:04. | |
Victorian London and follows the adventures of a boy sent off to the | :12:04. | :12:09. | |
East Indies on a whaling boat on a mission to capture a wild animal. | :12:09. | :12:12. | |
When he's shipwrecked, he and a handful of survivors have to face | :12:12. | :12:20. | |
their fate alone at sea. The book's been a big hit with Andrew | :12:20. | :12:24. | |
Finlayson. It says on the back cover it's a bit of Moby Dick, it's | :12:24. | :12:28. | |
a bit of Treasure Island, it's a bit of The Rime of the Ancient | :12:28. | :12:32. | |
Mariner, and a bit of a scattering of Dickens. So the Dickens bit, it | :12:32. | :12:35. | |
evokes London beautifully at the beginning. And then it gives you | :12:35. | :12:38. | |
the Moby Dick stuff, high seas drama, chasing the whales. That was | :12:38. | :12:42. | |
fantastic. And then the last third, which you're not prepared for. It | :12:42. | :12:46. | |
gives you a kicking, it just kicks and kicks, but in the most | :12:46. | :12:49. | |
incredible way. It's Heart of Darkness, it should have said on | :12:49. | :12:53. | |
the back cover. So the book went from a good book and as it went | :12:53. | :12:57. | |
through into the last third it just raised its game quite high, so I | :12:57. | :13:04. | |
felt it was a very good book. the ones you read, Jamrach's | :13:04. | :13:11. | |
Menagerie would be your choice? Without a doubt. | :13:11. | :13:18. | |
This way to the lion ace den. -- lion's den. | :13:18. | :13:26. | |
Comrie book club, for the first time the authors! Carol and Stephen. | :13:26. | :13:29. | |
We kick off the meeting with the book club by talking about | :13:29. | :13:36. | |
Jamrach's Menagerie. What did you think of the book? I really enjoyed | :13:36. | :13:39. | |
it. I thought it was a really great adventure and it reminded me of | :13:39. | :13:43. | |
books that I had read as a child, adventure stories. I thought that | :13:43. | :13:45. | |
the pace was excellent, the descriptions were excellent. It | :13:45. | :13:49. | |
really took me to London and then to the Far East, so I very much | :13:49. | :13:53. | |
enjoyed it. You seem to get into the psyche of these men who went to | :13:53. | :13:56. | |
sea for adventure, and I think actually I was scared for them at | :13:56. | :14:00. | |
that point. As soon as Jaffy and Tim went off to sea, I was thinking, | :14:00. | :14:04. | |
no, no, no, go home, it's going to end in tears, it's going to end in | :14:04. | :14:07. | |
disaster. I just wanted them to stay in the zoo and be happy and | :14:07. | :14:14. | |
Well, I do too. I feel terrible I put them through all that really. | :14:14. | :14:17. | |
Because, you know, I'm really with their mums. I'm at home with their | :14:17. | :14:20. | |
mums. Carol, at book club the other night, we talked extensively about | :14:20. | :14:23. | |
your book. And we kind of agreed that we found the actual shipwreck | :14:23. | :14:27. | |
period quite tedious. It went on for a long time. Was that your | :14:27. | :14:31. | |
intention to make us, as readers, feel when is this going to end? | :14:31. | :14:35. | |
Well, I didn't want people to be bored. But it was of its very | :14:35. | :14:41. | |
nature. They're basically just floating along passing time. So | :14:41. | :14:45. | |
that was quite a problem actually with the book. I'm sorry if it did | :14:45. | :14:49. | |
bore you, but that wasn't the intention. No, it wasn't boring, | :14:49. | :14:53. | |
but you wanted it to end. But it was the fact that for them life | :14:53. | :14:57. | |
became just a constant tedium. But with very very bright moments of | :14:57. | :15:05. | |
sort of concentrated reality that come through that. Great stuff. OK, | :15:05. | :15:09. | |
so Pigeon English. Thoughts, feelings, comments? You've seen | :15:09. | :15:13. | |
what Comrie is like now. We don't have many murders or really an | :15:13. | :15:18. | |
awful lot of trouble of any kind. Do you think you could have written | :15:18. | :15:22. | |
this book if you'd had a very different upbringing? If say you'd | :15:22. | :15:25. | |
grown up in Comrie rather than where you did, on your estate? | :15:25. | :15:30. | |
Absolutely not. I think I would have loved to have grown up in a | :15:30. | :15:33. | |
place like this. It's beautiful. But that wouldn't have equipped me | :15:33. | :15:39. | |
for the kind of book that Pigeon English had to be. I think having | :15:40. | :15:42. | |
the intimacy with these characters and how they approach their lives | :15:42. | :15:45. | |
absolutely was a necessity in, I think, giving an accurate portrayal | :15:45. | :15:48. | |
and getting across some of the things I wanted to talk about in | :15:48. | :15:55. | |
the book. It's amazing that this is a first novel, really, we think. | :15:55. | :15:59. | |
How does it feel to have been part of a bidding war? I understand | :15:59. | :16:03. | |
there were umpteen publishers after your book? I think umpteen is the | :16:03. | :16:09. | |
official number. If I sit down and reflect on that too much there's a | :16:09. | :16:14. | |
danger my head will explode. It was just an amazingly fortunate time | :16:14. | :16:19. | |
and completely unexpected. You just have to thank your lucky stars that | :16:19. | :16:22. | |
you've been able to write something that people have responded to in | :16:22. | :16:27. | |
that way. And that's a real gift. And that attention was I think very | :16:27. | :16:33. | |
humbling for me. Thank you all very much and in particular thank you | :16:33. | :16:37. | |
Stephen and Carol for coming up and being the first authors to come and | :16:37. | :16:42. | |
give Comrie a literary stamp of approval. Oh we've enjoyed it, | :16:42. | :16:46. | |
that's for sure. Well, I feel like I've been given the literary stamp | :16:46. | :16:50. | |
of approval by you, so yeah. I just feel like I've been stamped on | :16:50. | :16:57. | |
The Sisters Brothers, the novel by Canadian writer Patrick deWitt | :16:57. | :17:00. | |
about two wild West hitmen making a murderous trip across America, has | :17:00. | :17:07. | |
also proved popular with most of the residents of Comrie. | :17:07. | :17:14. | |
324 pages. Really? Aye, it was a wee bit long. Is that a little bit | :17:14. | :17:19. | |
longer than you normally like? aye. I really enjoyed it, but they | :17:19. | :17:22. | |
were two very very wicked men. was not a book that I would have | :17:22. | :17:26. | |
chosen to read, but I did enjoy it once I got into it. �12.99 on the | :17:26. | :17:32. | |
back of it. Yes. It's supposed to be hilarious. I did nae find any | :17:32. | :17:38. | |
hilarity in it. Patrick, this is the BBC calling. Hi, BBC, how are | :17:38. | :17:46. | |
you doing? I'm good. Er, who would like to start off? I read your book | :17:46. | :17:48. | |
and I have never ever met such well-bred, well-spoken cowboys, | :17:48. | :17:58. | |
:17:58. | :17:59. | ||
ever. Can you tell me where this came from? Well, from the start I | :17:59. | :18:04. | |
knew this wasn't going to be a factually accurate book, you know. | :18:04. | :18:07. | |
I came up with their voices and I knew I wanted them to be | :18:07. | :18:12. | |
intelligent. And I knew I wanted to have a sort of poetic slant. And I | :18:12. | :18:15. | |
didn't want them to be men of few words, as Western protagonists so | :18:15. | :18:20. | |
often are. I wanted them to be men of too many words, you know. So | :18:20. | :18:23. | |
that was just, sort of, the jumping off point for me. Is it realistic? | :18:23. | :18:28. | |
Absolutely not. But did I have fun doing it? Hi, Patrick. I'm Dave. | :18:28. | :18:31. | |
Personally, I thought it was a wonderful book. I really liked it, | :18:31. | :18:37. | |
but I'm a sucker for Westerns. I saw this book as an allegory for | :18:38. | :18:41. | |
contemporary America and I wondered if that was in your vision at all, | :18:41. | :18:43. | |
you know, in terms of the amorality, the corruption, the predatory | :18:44. | :18:49. | |
nature of relationships. And I wondered if you'd thought about | :18:49. | :18:53. | |
that at all? Or if that was something at the end of the book | :18:53. | :18:56. | |
you thought maybe, yeah, this is what this is? It's funny because | :18:56. | :18:59. | |
this question, or variations of this question, have been coming up | :18:59. | :19:09. | |
:19:09. | :19:11. | ||
often, but only from people outside Surprise surprise. If someone in or | :19:11. | :19:14. | |
outside of America wanted to draw those conclusions I couldn't | :19:14. | :19:21. | |
disagree with them, you know. Certainly it's a reflection of my | :19:21. | :19:24. | |
relationship with America. Patrick, I'm Trish and I don't have | :19:24. | :19:32. | |
a terribly intellectual question to ask you. It's maybe a cheeky one. | :19:32. | :19:36. | |
But your book would make a great movie, and I just wondered if you | :19:36. | :19:40. | |
had that in mind, or has anyone approached you so far? Well, | :19:40. | :19:45. | |
there's been some discussion about it actually, yeah. And it's serious | :19:45. | :19:48. | |
enough a discussion that I'm actually not supposed to discuss it, | :19:48. | :19:52. | |
which is a good sign. I'm assuming we're going for the Coen Brothers | :19:52. | :19:57. | |
or Tarantino here? Patrick, you've given everyone a lot of pleasure, | :19:57. | :20:00. | |
so thanks very much. And thank you for your time this evening, our | :20:00. | :20:05. | |
time here anyway. So guys is there anything else you'd like to say to | :20:05. | :20:15. | |
:20:15. | :20:16. | ||
Moving on, as they say, to Mr Miller's Snowdrops. Now this is a | :20:16. | :20:18. | |
good book. The story's really interesting. Well researched, I | :20:18. | :20:23. | |
thought. And those of us who know a little bit about Russia, Moscow, | :20:23. | :20:28. | |
and all those sort of things, will identify with it. | :20:28. | :20:31. | |
Snowdrops tells the story of Nick, an expat British lawyer working in | :20:31. | :20:34. | |
Putin's Moscow. Lured into a scam by a Russian woman, he finds | :20:34. | :20:41. | |
himself involved in a dark world of corruption and possibly even murder. | :20:41. | :20:45. | |
The real reason I chose it was because I don't know anything about | :20:45. | :20:50. | |
Russia. And I felt just looking at the back that it might give me a | :20:50. | :20:53. | |
wee bit of an idea about what life might really be like in Russia. | :20:53. | :20:57. | |
Because it's not a place I've been. And I thought it was really good on | :20:57. | :21:00. | |
that. It gives you a real impression of what Moscow, post the | :21:00. | :21:05. | |
Stalinist era, was all about. Corruption everywhere. Did it make | :21:05. | :21:09. | |
you nostalgic for communism? particularly, no. Is it a Booker | :21:09. | :21:12. | |
winner? I don't know. I don't know. It's quite different from what | :21:12. | :21:15. | |
we've come to expect. But it's all been different this year, | :21:15. | :21:21. | |
The author of Snowdrops, AD Miller, spent three years in Moscow working | :21:21. | :21:29. | |
as a journalist. AD Miller welcome to Comrie. Thank you very much. | :21:29. | :21:32. | |
Guys what did you think of Snowdrops? I think we all really | :21:32. | :21:35. | |
enjoyed it very much, so congratulations. Thank you. Your | :21:35. | :21:41. | |
book doesn't make Moscow a place that I particularly want to visit. | :21:41. | :21:43. | |
Well, without becoming an advert for the Moscow tourist board, I | :21:43. | :21:47. | |
hope it also sort of portrays some of the kind of exhilarating things | :21:47. | :21:50. | |
about living in Moscow. And my reasons for liking Moscow are not | :21:50. | :21:54. | |
the same as those of my narrator I should hasten to add, in case my | :21:54. | :21:57. | |
mother in law is watching. Whilst I'm not presenting this book, and I | :21:57. | :22:00. | |
wouldn't like people to read it as a complete portrait of modern | :22:00. | :22:03. | |
Russia, the kinds of things that happen in it, the kinds of | :22:03. | :22:06. | |
corruption and crime that it describes are very real features of | :22:06. | :22:11. | |
Russian life. I don't think it's something endemic in the Russian | :22:11. | :22:13. | |
personality, but they have had a tragic and particular history which | :22:13. | :22:17. | |
has led them to be where they are. I thought, to begin with, Nick | :22:17. | :22:22. | |
comes across as sort of a slightly shallow sort of character. But I | :22:22. | :22:25. | |
found at the end of the book I still had quite a lot of sympathy | :22:25. | :22:29. | |
for the guy. And I just wondered whether that was how you wanted the | :22:29. | :22:33. | |
reader to feel at the end of it? mean, what this book is about is | :22:33. | :22:36. | |
it's a portrait of an individual's moral decline. A kind of classic | :22:36. | :22:39. | |
21st century man in a way with very few connections, very few | :22:39. | :22:42. | |
friendships. His only real friend in Moscow is a kind of alcoholic | :22:42. | :22:48. | |
journalist. But he's not a terrible guy so I guess I want the reader to | :22:48. | :22:51. | |
judge him but also to understand how he comes to do the things he | :22:51. | :23:01. | |
The final book on the Man Booker shortlist is The Sense of an Ending | :23:01. | :23:06. | |
by Julian Barnes, the only author unable to meet Comrie's readers. | :23:06. | :23:10. | |
The story's narrated by a man in his sixties who receives a letter | :23:10. | :23:12. | |
from a solicitor that prompts him to confront some uncomfortable | :23:12. | :23:20. | |
truths about his past. First thing, it's a beautiful- | :23:20. | :23:22. | |
looking book. It's this lovely cover and then this intriguing, | :23:22. | :23:27. | |
black inky edge. It's like a, like a religious book or a special | :23:27. | :23:31. | |
poetry book or a memorium for somebody. He's very sensitive in | :23:31. | :23:35. | |
the way he writes, Julian Barnes, I think. And he's very, very good at | :23:35. | :23:37. | |
portraying characters. And that's what this book is really good at. | :23:37. | :23:41. | |
The characters are great. beginning of the book, it's quite | :23:41. | :23:44. | |
interesting because it talks about how we all create our own personal | :23:44. | :23:47. | |
histories. You know, we take a number of salient facts from our | :23:47. | :23:52. | |
life and then we join the dots and create an image in our heads. And | :23:52. | :23:57. | |
as we go through life, we just keep doing that image. We loop it in our | :23:57. | :24:02. | |
heads, this memory, and we press a button and it all spools out. Now | :24:02. | :24:05. | |
what happens at the end of your life, or this is what this is about, | :24:05. | :24:08. | |
the end of his life reflecting, what happens when some additional | :24:08. | :24:11. | |
points come into the reference frame and you have to change the | :24:11. | :24:17. | |
whole pattern and does it make you really reassess your whole life? | :24:17. | :24:21. | |
When it came to the end and he started to reassess his whole life, | :24:21. | :24:24. | |
I expected that the rug would be pulled from under the character. I | :24:24. | :24:27. | |
thought he'd open his heart. His heart would just burst out onto the | :24:27. | :24:30. | |
page when he'd found out some hideous things that he'd done. And | :24:30. | :24:35. | |
he came to that revelation. But he didn't. I just expected much more | :24:35. | :24:38. | |
from Julian Barnes, I expected something to hurt. I expected the | :24:38. | :24:43. | |
narrator to be really hurt in some fashion, and he wasn't. It's a very | :24:43. | :24:48. | |
analytical book towards the end. Quite philosophical, but the use of | :24:48. | :24:57. | |
words is excellent. This had the feel of a Booker book. | :24:57. | :25:00. | |
The Sense of an Ending is favourite with the bookies, but not with | :25:00. | :25:05. | |
everyone in Comrie. I didn't care for it, sorry. What would you give | :25:05. | :25:11. | |
that out of ten? Two, for effort. Out of ten for Julian Barnes? | :25:11. | :25:18. | |
and a half? The Sense of an Ending deserves nine out of ten. I give | :25:18. | :25:22. | |
The Sense of an Ending, seven out of ten. | :25:22. | :25:25. | |
To work out Comrie's winner, I've asked the villagers to score all | :25:26. | :25:30. | |
the books they have read. I give Jamrach's Menagerie eight out of | :25:30. | :25:38. | |
ten. I think it would need to be no more than two. Wow. Yes. I scored | :25:38. | :25:45. | |
Jamrach's Menagerie, nine out of ten. 7/10. I give Snowdrops, nine | :25:45. | :25:55. | |
:25:55. | :25:58. | ||
out of ten. 5/10. I'd certainly 7/10. Half Blood Blues. 8/10. | :25:58. | :26:01. | |
would give this one eight, but it's not everybody's cup of tea, Tim. | :26:01. | :26:05. | |
Well I think you'd give it five. Half Blood Blues, I've given it | :26:06. | :26:10. | |
nine out of ten. I think Pigeon English deserves seven out of ten. | :26:10. | :26:13. | |
I'd probably only give it four out of ten, which is disappointing I | :26:14. | :26:20. | |
know. Not very charitable, is it? Not very charitable Tim! I would | :26:21. | :26:26. | |
give it nine out of ten. I would definitely mark it nine out of ten. | :26:26. | :26:32. | |
The Sisters Brothers deserves a seven and a half. Six? Sisters | :26:32. | :26:42. | |
:26:42. | :26:46. | ||
The votes have been cast and the scores are in. It's time to reveal | :26:46. | :26:48. | |
the winning book, ceremoniously piped into the Church Hall by the | :26:48. | :26:58. | |
:26:58. | :27:08. | ||
Scotland has a fine tradition of wilfully not listening to what | :27:08. | :27:15. | |
London says. And it's good to see that Comrie keeps up that tradition | :27:15. | :27:23. | |
when it comes to the Man Booker Prize. If you haven't ever, never | :27:23. | :27:27. | |
ever picked out the winner, so far, what Comrie has done is tapped into | :27:27. | :27:31. | |
the book which tends to be one of the most popular, one of the most | :27:31. | :27:36. | |
loved. So I'm going to do the revelation now. According to the | :27:36. | :27:39. | |
village of Comrie the winning book is Pigeon English by Stephen | :27:39. | :27:49. | |
:27:49. | :27:56. | ||
Hello? Hello, it's Tim Samuels from The Culture Show. I'm in a village | :27:56. | :28:01. | |
hall with the village of Comrie, if you remember them? Of course I do. | :28:01. | :28:05. | |
What a lovely time we had up there the other week. We had a lovely | :28:05. | :28:09. | |
time with you. So much so, that the village have voted Pigeon English | :28:09. | :28:13. | |
their favourite book on this year's Man Booker Prize Shortlist. | :28:13. | :28:23. | |
:28:23. | :28:24. | ||
I'm very honoured and very chuffed! He's very honoured and very | :28:24. | :28:31. | |
chuffed! So well done. Thank you very much. Goodbye and good luck | :28:31. | :28:40. | |
later on. And goodbye from the I mean, he thinks that's great but | :28:40. | :28:47. | |
So the people of this peaceful village in Perthshire have chosen a | :28:47. | :28:52. | |
gritty urban tale as their winner. We'll have to see whether the Man | :28:52. | :28:56. | |
Booker judges agree with Comrie's choice. I think it's wonderful. He | :28:56. | :29:06. |