I’m finally able to share some big news for fans of Mortal Engines (and indeed, writers of Mortal Engines). I’m not sure how much I can say about it at the moment, so I’m just going to leave some salient bits of the press release here.
Peter Jackson and Fran Walsh (The Lord of the Rings and The Hobbit trilogies) are making the feature Mortal Engines, based on the award winning book series of the same name from British author Philip Reeve.
Jackson and Walsh have co-written the screenplay with collaborator Philippa Boyens (The Lord of the Rings and The Hobbit trilogies). Christian Rivers is attached to direct. Christian has spent the majority of his 25-year career working closely with Jackson, beginning as a Story Board Artist, later moving into supervising visual effects and finally serving as Splinter Unit Director on The Hobbit trilogies. Christian won an Academy Award® for his work on the 2005 film, King Kong (Best Achievement in Visual Effects). He also recently served as second unit director on the remake of Pete’s Dragon. Mortal Engines is his first project as Director.
“Christian is one of my closest collaborators,” says Jackson, “The combination of emotion and jaw-dropping visuals in ‘Mortal Engines’ makes this the perfect movie for his move into feature directing. What Christian intends to do with Philip Reeve’s terrific story is going to result in an original and spectacular movie. I wish I could see it tomorrow!”
“’Mortal Engines’ is one of those stories that was made for the big screen,” says Rivers. “A fantastical, futuristic world that has to be seen to be believed. At its heart though, it’s a beautiful love story and a richly complex character driven adventure. To be the director who gets to bring Philip Reeve’s incredible universe to life is a dream come true.”
“I’m thrilled that Christian, Fran, Philippa and Peter are bringing my book to the screen,” said Philip Reeve. “They’ve created some of the most memorable imaginary worlds in modern cinema, so I can’t wait to experience their vision of the world of ‘Mortal Engines.’”
I’m very pleased to learn that Railhead has made it onto the shortlist for this year’s Carnegie Medal!
The Carnegie is one of the most prestigious UK prizes for children’s books, awarded by CILIP (the Chartered Institute of Library and Information Professionals). It’s a great honour, and a very strong shortlist. The winner will be announced at a ceremony in London on xx June, but whatever happens it’s lovely to be on the shortlist again, (I was previously shortlisted for Fever Crumb, and foe Here Lies Arthur, which went on to win). Congratulations to all the other shortlists! I’m very grateful to all the librarians who have supported Railhead.
Meanwhile, the UKLA (United Kingdom Literacy Association) has also shortlisted Railhead for its 2017 award – and Pugs of the Frozen North, the third of my collaborations with Sarah McIntyre, is also shortlisted in the younger category!
As with the Carnegie, the UKLA shortlist is very strong (it’s been a good year for children’s books) and you can see it here.
Meanwhile, across the Atlantic, the Science Fiction Writers of America have been drawing up the shortlists for their famous Nebula Awards, and they’ve nominated Railhead for an André Norton Award (a prize for books aimed at children or young adults, and named after an author whose space stories I used to read when I was at school – very good they were too). The shortlist also includes Frances Hardinge’s superb The Lie Tree, and you can find it here.
Needless to say, I don’t hold out high hopes of winning all (or any) of these awards in the face of such stiff competition, but fingers crossed. And it’s nice to know that Railhead is good enough to get on shortlists. I hope this will draw it to the attention of some new readers, and that some of them will go on to read the sequel, Black Light Express.
It’s difficult to blog about the Emirates Airline Festival of Literature in Dubai because there’s so much of it. When I go to Hay or Edinburgh or Cheltenham I’m usually only there for a day or two, and only actually in the festival for a few hours. In Dubai I got to live in the hotel where the festival was being held for almost a week.
It’s a very fine hotel, with huge conference rooms, which sits at the hub of a complex called Festival City on the banks of Dubai Creek. A little further along the waterfront was a huge fountain which looked liked like an unlikely submarine surfacing. It remained moribund until about 2pm each afternoon, when it would spring to life, blaring pop music and squirting jets of water into the air in a not particularly interesting way. But it turned out that this was just its warm-up act. On the last evening of the festival I wandered outside after a long signing session just in time to see the fountain do its thing. There was dramatic orchestral music, dancing water jets, laser beams slashing lines of red and green and lilac light through the spray, and – the designers having realised in a stroke of deranged genius that what most fountains lack is fire – actual flamethrowers. For five or ten minutes the peaceful creekside vista was transformed into one of the livelier bits of Apocalypse Now. It was very Dubai.
When I first went to the festival three years ago it was this sci-fi atmosphere which stuck in my mind afterwards (some of it found its way into Railhead). Dubai is a strange mixture of brash bling and deep conservatism, where giant portraits of the ruling sheikhs gaze down from the walls of skyscrapers on gorgeous cyberpunk metro stations and flame-throwing fountains, while weird megastructures loom through the haze in a Simon Stålenhag sort of way. This time I didn’t see much of the city, as I had far more events to do, both on my own and in my capacity as sidekick and straight man to international show-off Sarah McIntyre. (There’s a video here of some of the stuff we got up to.) We took a trip down to Jumeria Beach one evening with fellow UK author Smriti Prasadam-Halls, but mostly we stayed in Festival City, so this year’s memories are much more about the people we met there.
They aren’t joking when they call it an international festival of literature. The Brit contingent included Piers Torday, Abi Elphinstone, Frances Hardinge, Patrick Gale, Michael Foreman, Andy Miller, Tanya Landman and Candy Gourlay (who lives in London but comes originally from the Philippines and was greeted with wild excitement by Dubai’s large Filipino population). But we were surrounded by writers and artists from all over the Arab world and from India, the U.S.A and the Caribbean. I don’t think I’ve ever found myself in such cosmopolitan company, and it was brilliant. I particularly enjoyed talking to the Egyptian author and journalist Ibrahim Farghali (I’ve brought home an English translation of his novel The Smiles of the Saints) Emirati children’s author Asma Kalban, and Jamaican poet and academic Kei Miller – no, it’s too dangerous to start listing everybody, since I’m bound to forget someone, and there were some people whose names I never even learned, but it was good to be among their conversations, and hear news and views from places far from poor old Brexit-blighted Britain.
Sarah McIntyre and Ibrahim Farghali
The audiences are just as mixed. Dubai has a huge ex-pat community so there were lots of Britons, Americans and Australians at our events, but lots of local Emiratis too. One group of boys from a school in Fujeira drove for three hours to see Sarah McIntyre and Emirati writer/illustrator Maitha Al Khayat doing a wild and wonderful English/Arabic pirate comics jam. (I missed that event as I was doing one of my own. I missed almost all the other events for a similar reason – if I wasn’t doing an event I was preparing for one, or signing, or knackered – but word reached me of wonderful things going on in other rooms – a brilliant poetry reading, a great session on travel writing, and a picture book event where Smriti Prasadam-Halls managed to move the adults in the audience to tears with an account of how her relationship with her sister had inspired one of her books.)
Maitha Al Khayat, McIntyre, and fans.
All the kids were great audiences – enthusiastic and keen to join in without getting too rowdy, and full of intelligent questions. We heard again and again how much they look forward to the festival and the chance it gives them to meet authors. Eleven-year-old Viraaj and his sister Vritti came to nearly all my events, and after the last one Viraaj gave me, Sarah, Piers and Candy copies of this bookmark he had made for us.
I hadn’t planned to return to Dubai – I had a great time on my first trip, but I hate travelling, don’t like hot weather, and seldom get much sleep in hotels*. Then, last year, the festival was targeted by campaigners who want writers to boycott it because of the Emirati government’s human rights record and the fact that the festival is sponsored by an airline. I’m broadly in favour of airlines, so the second argument was never likely to move me. I’m completely in favour of human rights, but the idea that boycotting a litfest will generate anything more positive than a cosy glow of righteousness in the breast of the boycotter seems absurd. The spectacle of British writers attempting to improve another country by trying to shut down its main cross-cultural arts event convinced me that I ought to go back and support the festival. I’m very glad I did.
Many thanks to Isobel Abulhoul, Yvette Judge, Mary Ann Miranda, and all the dedicated, patient, unflappable, book-loving volunteers who run the festival.
A while back I mentioned the Emirates Flight Time Stories competition which Sarah McIntyre and I have been involved with. There were loads of entries, and lots of them were brilliant, but the overall winner was a story called Monkey Goes On A Plane by 4-year-old Maddison Penney, and Sarah and I have used it as the inspiration for a picture book. Since 99% of the work is Sarah’s, I hope I can say that it’s lovely without sounding big-headed. Here’s the cover – I love the impact of that big red arrow!
You can read Sarah’s blog about it (and see some more of her pictures) here.