Wayne Holloway-Smith
speaker
351 appearances
1 recordings
1 series
first heard Jun 2026
last heard 24 Jun
Wayne Holloway-Smith’s voice in public audio — every appearance, attributed to the second.
Trend
recordings per month · last 12 monthsRecordings per month over the last 12 months — 1 in all, peaking in Jun 2026 with 1.
Appearances
Which I was hoping, yeah, maybe that's like, that's where I kind of landed with the understanding, although I'm reluctant to try and explain it any more than that.
I kind of like, I thought if I could mention Kafka and like George Saunders, maybe a slight of ham might get me out of a situation where I actually have to say anything interesting about my own strategies.
Can I just say, like, earlier, I forgot to mention, like, when you were talking about the Alma character.
The idea of the Alma character came about from that Latin phrase, like Alma mater, you know, which means nourishing mother.
So when she enters the text, when she enters the text in...
basically a little girl who like appears to the character, the boy rabbit, whatever you want to call him, at like those kind of difficult moments.
And they sit inside the wardrobe together and she kind of comforts him and they retell each other the fragments of the story that the mum told at bedtime about like escape and stuff like that.
I only mention it because I'm like, crap, we haven't actually talked about that.
And that's probably like one of the keys.
So the entrance of Alma is probably one of the keys to the understanding.
But again, I don't want to over-explain it.
I think that's kind of like, I guess the concern then,
like for the reader is is that one thing and the concern if i wanted to kind of the the narrative so what like the story the narrator and then the kind of author presiding over the text if if there was one kind of thing that i wanted to try and achieve
at some point during narrative, even if it was just for a second, even if it was only in the imagination was just to create like a safe space where the mother and son could meet and experience some joy, like just for a minute.
and bring themselves to the book if you buy it and also like enjoy it I guess like for me it's like sort of like yeah entering into that text and making of it what you will but like any experience you know like I want it to be read just as an experience really maybe there's no work to be done or maybe if you want to kind of insert yourself in there and
engineer the narrative or your understanding of the narrative in a certain way then maybe that's what i want a kind of novella or whatever to yeah we've got novella in there novella is like i was thinking he got it in all right you missed that out you keep referring to me as a poet and like at this point it's like well he's a writer okay a writer yeah thank you come on questions any questions yeah
your your writing and particularly in that piece was influenced by that need to seek that empathy yeah well I don't know if it was like maybe like seeking an empathy or like creating a space in which like the the narrative doesn't necessarily sit still so like it doesn't what I wanted to do and what actually is a line in the book and something that also Sandeep Parmar
picked up on in The Guardian was not having to look something directly in the eye and so a lot of the time like if there's an empathy it's like for like when you read it hopefully if you read it there's the idea is that I don't want you to have to focus with such intensity
directly on like a traumatic experience but I want to create the space where like the each section sort of moves and shifts around so that we're not doing that um in terms of
Well, maybe it doesn't, but I think the way that you might accomplish that, or I aimed to accomplish that, was not by saying things.
Showing 321–340 of 351 · page 17 of 18
← Previous
Next →