Kate Briggs

In an opulent villa near the English Channel lives a family. The father has a safe, a spanner, a candle and a maid called Rose. The son has a swing, a croquet set, a raincoat, a car. Some members of the family read crime novels to fall asleep (the father), some instead of sleeping (the son), and some to ease the loneliness of an unhappy marriage (the mother). Their equilibrium is shattered in the wake of a shocking incident and the twenty minutes of silence that follow. Darkly comedic and wonderfully strange, Twenty Minutes of Silence is a truly original take on the crime genre, inspired by a true story. Here Hélène Bessette builds a world of intrigue, a world punctured by startling disruptions and unexpected shifts, and in doing so destroys and remakes the crime novel, creating a form wholly new.

From the award-winning author of the book-length essay This Little Art, a debut novel that reaches back to the start of the novel tradition and outward to the complexities of contemporary life. Kate Brigg's debut novel--the follow-up to her acclaimed This Little Art--is the story of a young mother, Helen, awake with her baby. Together they are moving through a morning routine that is in one sense entirely ordinary--resting, feeding, pacing. Yet in the closeness of their rented flat, such everyday acts take on epic scope, thoughts and objects made newly alive in the light of their shared attention. Then the rhythm of their morning is interrupted: a delivery person arrives with a used copy of Fielding's The History of Tom Jones, which Helen has ordered online. She begins to read, and attention shifts. As their day unfolds, the intimate space Helen shares with her baby becomes entwined with Fielding's novel, with other books and ideas, and with questions about class and privilege, housing and caregiving, and the support structures that underlie durational forms of codependency, both social and artistic.

It’s early morning and there’s a whole new day ahead. How will it unfold? The baby will feed, hopefully she’ll sleep; Helen looks out of the window. The Long Form is the story of two people composing a day together. It is a day of movements and improvisations, common and uncommon rhythms, stopping and starting again. As the morning progresses, a book – The History of Tom Jones by Henry Fielding – gets delivered, and the scope of the day widens further. Matters of care-work share ground with matters of friendship, housing, translation, aesthetics and creativity. Small incidents of the day revive some of the oldest preoccupations of the novel: the force of social circumstance, the power of names, the meaning of duration and the work of love. With lightness and precision, Kate Briggs renews Henry Fielding’s proposition for what a novel can be, combining fiction and essay to write an extraordinary domestic novel of far-reaching ideas.

An essay with the reach and momentum of a novel, Kate Briggs’s This Little Art is a genre-bending song for the practice of literary translation, offering fresh, fierce and timely thinking on reading, writing and living with the works of others. Taking her own experience of translating Roland Barthes’s lecture notes as a starting point, the author threads various stories together to give us this portrait of translation as a compelling, complex and intensely relational activity. She recounts the story of Helen Lowe-Porter’s translations of Thomas Mann, and their posthumous vilification. She writes about the loving relationship between André Gide and his translator Dorothy Bussy. She recalls how Robinson Crusoe laboriously made a table, for him for the first time, on an undeserted island. With This Little Art, a beautifully layered account of a subjective translating experience, Kate Briggs emerges as a truly remarkable writer: distinctive, wise, frank, funny and utterly original.