{"id":414,"date":"2017-10-18T13:15:46","date_gmt":"2017-10-18T12:15:46","guid":{"rendered":"https:\/\/copyright.lboro.ac.uk\/research\/?p=414"},"modified":"2017-11-09T16:21:49","modified_gmt":"2017-11-09T16:21:49","slug":"george-saunders-booker-win-british-shouldnt-sore-american-literary-success","status":"publish","type":"post","link":"https:\/\/blog.lboro.ac.uk\/research\/communication-culture-citizenship\/george-saunders-booker-win-british-shouldnt-sore-american-literary-success\/","title":{"rendered":"George Saunders Booker win: why the British shouldn’t be sore at American literary success"},"content":{"rendered":"
<\/figcaption><\/figure>\n

\u201cIn the four quarters of the globe,\u201d asked<\/a> the British writer and cleric Sydney Smith in 1820: \u201cWho reads an American book?\u201d Smith was a career eccentric, known for odd sayings and doings, such as wearing a self-designed tin helmet<\/a> as a defence against rheumatism. However, his scorn about the impoverished state of literature in the upstart nation across the Atlantic was no mere individual fancy, but a judgement backed by his nation\u2019s sense of cultural superiority.<\/p>\n

But pose the same question now, almost exactly 200 years later, and such complacency is hardly the response you\u2019re likely to get. The most esteemed British literary prize, after all, has now been awarded to an American author two years running.<\/p>\n

American writer George Saunders\u2019 victory in the The Man Booker Prize for Fiction<\/a>, for his debut novel Lincoln in the Bardo<\/a>, follows on from US novelist Paul Beatty\u2019s 2016 win for The Sellout<\/a>. Fears of the Americanisation of this piece of British literary heritage are likely to be renewed. Saunders and Beatty face being seen as the high-cultural wing of an ongoing transatlantic takeover of national life that recently took more bone-crushing form in the series of NFL fixtures in London<\/a>.<\/p>\n

Changing the rules<\/h2>\n

Worries about precisely such literary colonisation by the United States were voiced, in fact, when the organisers of the Booker changed its eligibility rules in 2013. Formerly a prize only for novelists of the United Kingdom, Ireland and the Commonwealth, with winners including such non-UK citizens as Nadine Gordimer and John Banville, the parameters were altered so as to make the language of composition itself the key criterion. The new rules<\/a> invited submissions of \u201cany novel in print or electronic format, written originally in English and published in the UK by an imprint formally established in the UK.\u201d<\/p>\n

A S Byatt, a former judge as well as winner, said at the time<\/a> she feared such an expansion of the field would result in \u201cgood work\u201d going unrecognised. Her qualms were based not on nationalistic unease but in the spectre of unmanageable piles of novels to be sifted. But for literary scholar John Mullan, the risk of the rule change was indeed that the Booker would decline into a series of spectacular US\/UK faceoffs<\/a>. He imagined the new Booker as:<\/p>\n

A Ryder Cup of Literature \u2026 Toni Morrison versus Hilary Mantel, or Jonathan Franzen against Ian McEwan.<\/p><\/blockquote>\n

Nevertheless, it is not as if the Booker\u2019s previous criteria for eligibility were beyond criticism. How convincing a defence can be assembled for a prize whose original geographical coverage mapped exactly onto that of Britain\u2019s recent colonial and imperial dominance? These embarrassing parallels were pointedly addressed in 1972 by John Berger, also a Booker winner<\/a>. On being awarded the prize for G., he remarked<\/a> that the sponsor, Booker McConnell, had derived much of its wealth from \u201cexploitation\u201d during \u201cextensive trading \u2026 in the Caribbean for over 130 years\u201d.<\/p>\n

Novels without borders<\/h2>\n

If writers in English from Durban had always been eligible for the Booker, then why not those from Denver? If Delhi, why not Detroit? While the organisers\u2019 announcement in 2013 triggered expressions of anxiety in the UK that the novelists of Hampstead would be ill-equipped to compete with those from Harlem, others welcomed the prize\u2019s reimagining so as to include writers in English from beyond Britain\u2019s recently relinquished imperial citadels. As the Scottish author A L Kennedy said<\/a>: fiction is \u201cdeeply international, deeply humane. It has no borders. It\u2019s lovely that the Booker is reaching out\u201d.<\/p>\n

\n

\"\"

George Saunders with his award. Man Booker<\/p><\/div><\/figure>\n

There are striking affinities, in fact, between Kennedy\u2019s rhetoric and that of George Saunders in his acceptance speech<\/a> after winning for Lincoln in the Bardo. His novel\u2019s subject could not be more closely affiliated with the national narratives and icons of the US: its key figure, of course, is the grieving President Lincoln. Nevertheless, Saunders\u2019 model of literary composition and reception remains resolutely non-jingoistic:<\/p>\n

Well this tonight is culture, it is international culture, it is compassionate culture, it is activist culture.<\/p><\/blockquote>\n

Two responses, perhaps, are possible in the face of nationalistic concern that the Americans are taking over British literary prizes.<\/p>\n

The first is to recall more of Berger\u2019s wise words in what was as much a speech of refusal as acceptance in 1972. Even at a time when coverage of the prize was modest, with the only media \u201cplatform\u201d provided by a few broadsheet papers, Berger complained<\/a> about \u201cthe deliberately publicised suspense, the speculation of the writers concerned as though they were horses, the whole emphasis on winners and losers\u201d. The task now, perhaps, is to extricate Saunders, and Beatty before him, from conversations about their passports and instead to give their thematically challenging and formally inventive fictions the serious attention they deserve.<\/p>\n

\"TheBut a second possible response to Saunders\u2019 victory may offer a better cure for the prize envy of the smaller-minded British reader, currently sore at US literary success. Yes, Saunders may have won the Booker. But in Kazuo Ishiguro<\/a>, Britain currently has the holder of the biggest literary trophy of all<\/a>.<\/p>\n

Andrew Dix<\/a>, Lecturer in American Studies, Loughborough University<\/a><\/em><\/p>\n

This article was originally published on The Conversation<\/a>. Read the original article<\/a>.<\/p>\n

Header image:\u00a0jannoon028\/Shutterstock.com<\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cIn the four quarters of the globe,\u201d asked the British writer and cleric Sydney Smith in 1820: \u201cWho reads an American book?\u201d Smith was a career eccentric, known for odd sayings and doings, such as wearing a self-designed tin helmet as a defence against rheumatism.<\/p>\n","protected":false},"author":108,"featured_media":415,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[4],"tags":[],"class_list":["post-414","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-communication-culture-citizenship"],"yoast_head":"\nGeorge Saunders Booker win: why the British shouldn't be sore at American literary success - Loughborough Research Blog<\/title>\n<meta name=\"robots\" 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