A new Irish writer takes rave reviews – but no one knows who they are. That gives me hope | Rhiannon Lucy Coslett

A new Irish writer takes rave reviews – but no one knows who they are. That gives me hope | Rhiannon Lucy Coslett

Uhat in a pen name? Irish writer Lianan Ní Chuiinn short collection of Chuinn, each other here, has received Rave reviews and Hears of praiseBut almost no one knows who they are. A corsyory google no longer pictures or biographical information. All we know is that the writer is Nanish Irish and born in 1998, the year of good Friday Agreement.

A statement from Ireland publisher is the rising fly read:

Writing unknown or under a pseudonym is a long has been established custom of printing. The novels of Jane Austen were dedicated to “a woman”, George Eliot was Mary Ann Evans, and Brontë Sisters was Elriss, Ellis Bell. Although women do not have to hide themselves as men, and “the lower trade novel“Not very strong, the tradition of the pen name continues in the 20th century so far David Cornwell; Eric Blair has turned out to be David Cornwell; The validity of nature memoir is the passage of salt It is caused by hostility to country book groups, the fact that the author changes him and her husband’s names are the least wonderful revelation. If there is anything, it can feel more remarkable to meet a writer whose books have the name they are born on the cover.

In the world of modern publications, the spectrum contains all from “using a pen pening phyritions and gives interviews” to “have gender-neutral authors in person”; “Used different pseudonsms for different genres”; “Uses a different name for political reasons, for example to avoid persecution of their country of country, or personal or professional reasons”; And even “secretly unknown” (anonymous but trying to do it so that no one knows they are). Nepotist Nepotists often use a very well-known parent surname that their appeals to their connections with their own novel brother (Margaret Drable).

However, the total unknown, a different business. The most famous modern example we have had is the Elena Ferrante course (or it, until he can and, I think, not fail by an Italian reporter.) However the ferrante makes some insisting by letter, including writing For the keeper. In order not to provide interviews with all, especially a young debut author, never realized, and especially in a scene of the scene where “personal stories” is the key to sell. You can say that Liaudan’s collecting ní chuinn has been published by all a miracle.

The quality of literature is not always prioritized by high profile. I can’t tell you how many evidence writers sent me big on Instagram but can’t hide a grammar. With publicity budgets not what they used to be and many authors need to do most of the work of self, a challenge that represents any claim to claim the publishing house and their publicity department.

I admired that chuinn. As a writer of myself – in the next six months with two books to go out – I know that the stress of exposure and the risk of combustion can be true. Ní Chuinn is forgiven to see Sally Rooney, another writer of the same literature ecosystem begins with children, and thinking that the level of exposure seemed unstoppable. The way a young woman – because it’s usually a young woman – which creates something that is a sort of shorthand for all wrongs / right about her choice of art to put yourself there. Rooney’s writing shows a deep ambivalence about the fame, and his decision today would only be put in a media when it served him unexpectedly Political beliefs is to praise. However newspapers are very much better than what I call “Rooney-IIS”. Look, I do it now.

If you are a writer, the public exposure no longer affects you, but the people of your life whose stories often overlay with you. If you write about sensitive topics with a lasting, painful heritage of people’s life – as ní chuintn in Ireland in Ireland in English

Above all, it makes the interaction between the author and read purely about the quality of work. For a publisher to agree to publish an anonymous author, as so many did Ferrante, and publishers in Ireland, the UK and the US have ní chuinn, that writer has to be extraordinary. And ní chuinn.

It’s got to give it an avid reader in fiction – and any writer who cares about the sentences but junk in the truth – hope. The work can still be something, at least sometimes.

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