© 2019 N Quentin Woolf. All rights reserved.

NEWS

Open Pen Anthology 
foreword

This magazine and its accompanying events have been part of the London literary scene for long enough that their first anthology isn't just welcome, but needed. I have the honour of providing an introduction.

North American Launch
Canada

The Death of the Poet, my novel about violence and redemption, made its first outing in Kingston, Ontario; a half-hour pre-launch interview with Bruce Kauffman was broadcast on CNBC 103.9fm.

With Ali Smith
Cambridge Literary Festival

I'm still savouring the taste of having been chosen as one of Ali Smith's favourite debut novels at the Cambridge Literary Festival. We shared a stage and took questions, and I ill-advisedly attempted a Californian accent.

Notes

In radio one has one eye on the clock at all times, so it came as no slight surprise, recently, to clock that a full ten years had slipped by since I started out muttering into anything that looked like a mic. A decade, give or take, of weekly talk-show broadcasting, whether radio or podcast, whether literary, arts-based or London-centric. It's been a peach of a ride, so far. But things change, and as you might know, Londonist Out Loud, (which first went to air just before the Pliocene era), came to an end several months ago after a terrific run. [Thank you to the many listeners who've been in touch, some of whom I connected with for the first time only after the decision had been taken to end the series. It's meant a lot to share your experiences of the show.] Consequently, this is the first time in ages I've had time on my hands. Time to look up, rather importantly, and time to get stuck in to projects I've been wanting to pursue, but couldn't. There's a novel to do with remembering, which I'd forgotten I'd started. I might re-introduce myself to my agent, and see if he remembers me. There is (say it quietly) a broadcast idea. I've also been getting quite into sound design, and some pretty interesting electronic squawks have been heard from my studio of late. And among these, my contributions to the greatly melodious affair that is Open Pen magazine, and for which I am honoured to write a column, to say nothing of a decade's worth of promises to keep and favours to return in the real world. 

It a

So 2017 is looking a lot like being a transition year; a chance to put some gas in the tank and half of last night's Chinese in the microwave, before lurching off into the unknown once more.