Jendella Benson’s debut novel, “Hope and Glory,” takes place in the London neighborhood of Peckham, (in)famous for its gentrification. As she approaches this setting with the same eye for world-building as writers of fantasy of science fiction, Benson learns something new about her own community.
In her contribution to Literary Hub, Jendella Benson dismisses the word “gentrification” as “cliché.” She writes, “It is a flat term that speaks of boxy rooms in new build apartments and nameless hipsters and craft beer.” Instead, her debut novel, Hope and Glory, seeks to characterize the gentrified (Benson herself can’t afford to live in the setting for her own book anymore), whilst acknowledging the systemic and institutional phenomenon of “gentrification” at the same time.
Although I haven’t experienced gentrification as a white American who grew up in the Middle Class neighborhoods of South Metro Denver, I’ve witnessed it firsthand. People can’t afford to live in their own communities, turned out onto the streets after one delinquent rent payment too many, where drugs are their only solace and crime is their only access to our society’s capitalistic resources for survival. I may not be the right one who can speak to it, but I call upon all the Jendella Bensons of the world to do it for themselves.
Doerr, who won the Pulitzer Prize for the modern classic “All the Light We Cannot See,” discusses with Julianne Gee of the Boise State University “Arbiter” how drawing engages him to write with greater complexity. Doerr briefly worked with their creative writing department.
After the publication of his latest book, Cloud Cuckoo Land, in September, Anthony Doerr sat down for an interview with The Arbiter in Idaho. Doerr is quoted as saying, “Growing up, you always think good novelists live in Brazil and Buenos Aires or Paris or they’re dead. Every day you have to give yourself permission and say, ‘You know, even though I live right here in Boise, it’s okay to try to make something that people might read in Brazil or in Paris.'”
We study Doerr extensively in the Master of Arts program for professional creative writing at the University of Denver; he is, without hyperbole, one of the most gifted authors working today, and you could do far worse than learn from his comedic timing in his sentences, or the grander storytelling structures he erects out of this acumen for the micro level. Like all masters of the written word, he knows how to make it appear as though he comes by this skillset naturally, but, during the prewriting phase for Cloud Cuckoo Land, he reveals he scaffolded the outline with a diagram. As for what inspired him to write with such wealth and depth, Doerr attributes it to his grandmother’s Alzheimer’s disease – “I just thought I’m going to try the most complicated thing I can try right now, while I still can,” he says.
At five hundred twenty-eight pages, The Ballad of Songbirds and Snakes by Suzanne Collins is scheduled for publication May 19 from Scholastic Press, with Lionsgate set to release the film adaptation, according to The Birmingham News. Set sixty-four years before the events of The Hunger Games, the prequel will follow an eighteen-year-old Coriolanus Snow, before he becomes the villainous President of Panem, as he mentors the female tribute from District Twelve at the tenth annual Hunger Games. Franchise alumni Francis Lawrence, Michael Arndt, as well as Nina Jacobson will return as director, screenwriter, and producer, respectively, for The Ballad of Songbirds and Snakes.