The New Compass: A Critical Review
Letter
from
Claire Squires
Rituals and myth have always played
a part in rites of passage, and the university graduation ceremony is no
exception. At the
Oxford Brookes awards honorary
degrees—recently to the naturalist Sir David Attenborough, to the inventor
Trevor Baylis, and to the writer Philip Pullman—for
outstanding contributions to life beyond the academy, but in fields in which
all university graduates might themselves aspire to achieve. During this year’s
ceremony for the BA and MA graduates of Brookes’ Publishing Department, the
recipient of an honorary DLitt was a man whose formal
education ended at the age of 15, Martyn Goff, OBE.
Goff has been a passionate and influential advocate behind the scenes of the
book world in post-war
While at the Book League, Goff’s
most notable act was to take Tom Maschler’s
brainchild the Booker Prize for Fiction (now the Man Booker Prize for Fiction)
and turn it into an internationally recognised award, an event extensively
covered in the media at home and abroad, substantially
enhancing the reputation and sales of its winning author. The prize has also
spurred a renaissance in the popularity of literary fiction in the
Goff has presided over the Booker
Prize as its Administrator for several decades, and is still overseeing it in
his 80th year. As the Booker demonstrates, the role of literary prizes in the
wider literary environment is manifold. Prizes influence sales and reputations,
they are very effective promoters of literature, and they can play an important
part in developing literary culture generally. In the long-term, prizes also
have a role in constructing notions of literary community and value, and hence
in constructing literary canons. Thus, prizes have a longevity that extends
beyond the few months immediately following the award ceremony. Substantial
research has yet to be undertaken in this area, but there is surely a
correlation between a novel winning a high-profile prize and its subsequent
appearance on school and university syllabi. Notions of what is thought to be
“good” literature have come, at least in part, to rely on the evaluation made
by the judging panels of various prizes. Indeed, the decisions they make, when
viewed over the course of several years, often privilege certain perceived
types or communities of writing. Booker’s seeming predilection for postmodern,
postcolonial novels—epitomised by Salman
Rushdie’s Midnight’s
Children in 1981—has arguably inflected “English” literature away from the
parochial drawing-rooms of
Such
debate is central to analysis of the mechanisms and impact of literary prizes,
and we need to ask questions in order to understand and assess their cultural
impact. Who gets to be a judge, what are their qualifications for the job, and
what criteria do they use to make their decisions? Do judging panels make these
decisions by consensus and compromise, or by the force of strongly-held beliefs
and even stronger personalities? Who—or what—do these judges represent? Who, in
fact, selects the judges? Behind the yearly Booker judging panel, for example,
there is a more permanent and more shadowy Advisory Committee, which appoints
the judges and chairperson every year. Behind this steering group are the
Trustees of the Booker Prize Foundation, a charitable organisation
set up in 2002, who are now ultimately responsible for the management,
administration and long-term direction of the prize. (Any decision about the
inclusion of American writers would be made by the Trustees.) It is also worth
asking, then, what the potential and actual conflicts between the various
stakeholders involved in each prize are: the sponsor, the management group, the
judges, the media, publishers, literary agents, booksellers, teachers,
academics, authors and readers? Where does the power
lie in prizes’ construction of literary value, community and canons? Moreover,
does a lively prize culture necessarily equal a lively culture? Or are we
sometimes so seduced by the glamour of the award ceremony and the excitement of
the prize-giving that we start to think that dressing up in dinner jackets and
cocktail dresses is what books are actually for? Just as studying for a
degree—or being awarded an honorary degree—is not really about standing on a
platform in a graduation robe, so writing is a much longer, a much more
difficult, and a much more meaningful process than the acceptance of the
winner’s laurels.
In terms of the production and
reception of literature, these are questions of paramount importance to which
researchers are increasingly turning their attention. “Culture and the Literary
Prize,” a recent international conference at Oxford Brookes, brought together
students, academics and independent scholars working in this burgeoning field.
Due to the university’s close links to the publishing community, and the
generous intercession of Martyn Goff, negotiations
are approaching completion for the deposit of the Booker Prize Archive at
Oxford Brookes. When it is opened, we hope that much vital evidence will become
available to researchers in their attempts to respond to questions surrounding
book awards. As a consequence, our understanding of the processes of both
literary prize culture and literary culture—and their rituals and myths—will be
enriched.
For
further information about the Booker Prize Archive, please see the library
website www.brookes.ac.uk/services/library.
Squires, Claire. “Letter
from