WORD: A Literary Life: John Freeman, chaired by Paula Morris

This session began with a poetry reading from each writer. John Freeman chose a poem called ‘Wild’ by Tracey K Smith, from Freeman’s Literary Journal: Family; while Paula Morris read ‘The Curator’ by Selina Tusitala Marsh. Freeman is a very giving guest, and there seemed to be no areas of criticism that he had failed to consider. It was a very satisfying session, despite the occasional rapid pivot in topic which I’ll admit makes it tricky to pin down.

JohnFreeman-no-credit-copyJohn Freeman (above) is the son of two social workers. A defining moment in his life was his move as a 10-year-old , from Pennsylvania to Sacramento CA. In California, the culture is sport – and the only way to blend in as a child was to play a lot of sport – so he did. His father didn’t think much of Californian schools, so Freeman was forced into his father’s own summer reading programme, to keep up with what he would be reading if they’d remained in Pennsylvania. He went mainly to Quaker schools, and admired them for their proud, vehement, anti-war stance. “A lot of wars are underwritten with the approval, tacit or otherwise, of churches. The Quakers don’t silo spiritual and intellectual life.”

The three books Freeman credits with started him reading with volition are Nevil Shute’s On the Beach, 1984 by Orwell, and Wuthering Heights. He went after college from being a reader, to being a writer of genre fiction (a self-describedly terrible NASCAR book), to becoming a critic, writing for multiple magazines and online sources.

freemans_arrivalIs now a golden age of reviewing? Freeman says, “The internet is one of the greatest epistemological changes of recent time. People are drowning in taste. There is a lot of sharing passion for books, but we still need context.” He noted that back in the 1950s, instead of wanting to be writers themselves – going to courses to do this, everybody wanted to be a literary critic. But now “the idea that there is a centre has really collapsed.”

Freeman left America to be the editor of Granta. He was going into something which was already legendary, but which was nonetheless bleeding subscriptions. He worked there for five years, under an extremely eccentric billionaire boss – he said the key to doing this successfully was to pretend money meant the same to him as it did to them. One of his most lasting contributions to Granta was to establish international editions, the first being in Bulgaria.

The challenge of editing a quarterly literary magazine is there is no excuse for getting anything wrong. Everything has to be the best possible thing that it can be. So once he was having to explain what everybody added to the mix at Granta, he had to get out of there. And though he acknowledges that there are 1000s of literary journals in America, he went and started his own: Freeman’s.

freemans_familyFreeman’s is about the world, rather than about writing, as many literary journals are. Freeman says, “Writing has to be within the world, it can’t be separate from it. Narrative is as powerful a way of viewing the world as science is.” The storytelling he is seeking is the type that makes you fizz, that knocks out bad parts of your brain and replaces them. So far he has done two issues of the journal – the first is themed Arriving, the second themed Family. He has deliberately made this journal a venture that needs to break even financially – he doesn’t want to go into the non-profit zone, of trying to be as important as those raising money for crises.

Morris moved on to a talk about the Paris Review. Freeman says “Their interview series is quite important in American literary culture, making writers important.” However he notes that this, and other journals haven’t done very well is recognising the diversity of voices in the US. The editor came to talk to Freeman’s class at (his University) and said he is deliberately only publishing what he is interested in. This is extraordinary, to narrow the world to one man’s zone of interest. Freeman noted on this “If there is a gap between a journal, and what the culture reflects back at them, that is a problem.”

Freeman noted his own freedom to speak in cultural context. A heterosexual white male, he doesn’t get put on a diversity panel. He doesn’t need to explain who he is. He sees those of other cultures wondering why they need to scaffold everything. He is aware of his own perspective, whereas some don’t realise that they are involved in endlessly perpetuating their own views – Morris gave an example of an NZ magazine, that seems only to employ white male writers.

Freeman has a book of poetry coming out soon. He hasn’t always written poetry, he began when his mother passed away. It took him about 6 years of writing after that to gather enough material to consider creating a collection – without it being solely about death. “Death of a loved one forces you to reshape the world”, he said, “to explain it to the person who is absent.” “The sounds we make are defined by the holes inside of us.” Finishing his manuscript gave him huge respect for anyone who has ever published a book of poems.

When he considers the submissions to Freeman’s he doesn’t make a decision right away. He waits to see which story gives him the afterburn – the sparks. He says, “writing is a form of translating energy into the world. Some time capsules burst right away, and some have a slightly slower burn, and just keep burning.”

I’m going to be seeking out Freeman’s, and I think anybody who is interested in writing that reflects the world around us should as well. It was a privilege to hear his thoughts, to begin my time at WORD Christchurch.

Reviewed by Sarah Forster

John Freeman was also in Can Books Change the World? last night.

Freeman’s: Arrival
edited by John Freeman
Published by Text Publishing
ISBN 9781925240221

Freeman’s: Family
edited by John Freeman
Published by Text Publishing
ISBN 9781925355468

WORD: Can Books Change the World, with Peter Biggs as chair, Kate De Goldi, John Freeman and Victor Rodger

What a great event to begin the WORD festival with. The Piano is a brand new venue and perfect for a literary festival. This panel discussion was chaired by Peter Biggs, and drew us immediately into the ethics of being a writer. Is it about engaging with real world events, or do writers just tell stories. Is there any such thing as ‘just a story?’

pp_kate de goldiKate De Goldi had some interesting reflections on how children can be engaged morally and ethically. “Writing is an ethical act, especially as a children’s writer.” She explained that children’s literature happens in the space between knowing and not knowing. It grows out of children’s misunderstandings of the world around them. To read allows children to develop empathy and curiosity.

JohnFreeman-no-credit-copyLiterary magazine editor and writer John Freeman gave a political and American voice to the discussion. He explained that writers don’t often set out to engage in political views, rather they are addicted to writing, it is a habit, and out of it a voice grows, and you gain confidence that it speaks truthfully. It is not just about characters, but situations. Once you develop a voice you have to ask where to situate yourselves. He sees literature as a political act.

victor_rodgerVictor Rodger got all the witty lines. As a part Samoan, part Palagi gay man, his story was there, unique and ready to be told. He used writing to make sense of a confusing childhood – and to share his experiences to help others in the same situation. He sees theatre as being able to push boundaries and make people squirm, citing his popular play Black Faggot as an excellent example. He also reflected that books do change the world, something the other two didn’t commit to – citing The Bible, and the Qu’ran. Kate De Goldi noted that there are still families in which the only written word available at home is the Bible – undoubtedly this is also true of the Qu’ran.

Peter Biggs saw books as providing a slower form of narrative in this fast-paced world. “Forms of longer narrative are crucial to working out who we are, and what our world is. Books re-enlarge our idea of what a citizen is, while the world around us is reducing us to consumers.” In response, Kate noted that it was ironic in a way that books had become a commodity themselves – making the point that not all books matter. “The cul de sacs of interiority children’s books need have been ironed out by the requirement of action.”

freemans_arrivalBiggs then pulled us into a further discussion of how it is that the world is in such a state – the rise of Trump, Brexit, Australia changing Prime Ministers frequently: this world should know better – why doesn’t it? Freeman answered on behalf of America: “It is a structural problem, and related to the privatisation of the education system. When a populace is strategically de-educated, they can be controlled.” Rodger agreed –he was a Fulbright Scholar at the University of Hawaii last year, and saw among those there a lack of consciousness, a failure to get angry when it was warranted.

cv_from_the_cutting_room_of_Barney_KettlyWhen considering how to educate children via fiction, Kate’s response tends to be: children’s books need more semi-colons. The use of semi-colons gives children the layers of complexity that are needed to make sense of the world.

John Freeman doesn’t think books change the world – he thinks they allow us to survive the world. “The people that are most resilient in surviving trauma are those who can narrativise it.” For him, the construction of self can be dangerous, and a book is valuable if it can allow us to see that there is a self beyond our own – to explode the notion of self.

The role of libraries and of booksellers was also noted in the conversation, with the revival of the physical book and the regeneration of independent booksellers. Children’s bookshops in particular have survived through, a) knowing their clients, and b) knowing their stock. Likewise libraries have survived, and even in places where books have been fully digitised in libraries, it is the physical book which kids still prefer.

It was an interesting discussion with the take-away concept being that of the responsibility of writers to be morally and ethically true to their readers. There were also a few book titles and names dropped that are worthwhile hunting down at your local bookshop: Ta-Nehisi Coates’ Between the World and Me, Fiona Farrell’s The Villa at the End of the Empire, Susanna Andrews & Jolisa Gracewood’s Tell You What series, anything by Angela Fornoy – and Freeman noted that those who are writing the most considered work at the moment are writers of colour, queer writers, and those who are otherwise marginalised.

Reviewed by Kathy Watson and Sarah Forster

From The Cutting Room of Barney Kettle
by Kate De Goldi
Published by Longacre

Kate De Goldi appears in:
Read the World, Sat 27 Aug, 12.15pm
Writing War Stories (Chair), Sat 27 Aug, 3.15pm
Coming Rain: Stephen Daisley (Chair), Sun 28 Aug, 11am.

Freeman’s Literary Journal: Arrival
edited by John Freeman
Published by Text Publishing
ISBN 9781925240221

John Freeman also appears in:
A Literary Life: John Freeman, Fri 26 Aug, 11am

by Victor Rodger
Published by Huia Publishing
ISBN 9781869693039