A new literary prize celebrating boldly original fiction

The New Statesman supports the launch of the Goldsmiths Prize.

A £10,000 literary prize rewarding boldly original fiction has been launched by Goldsmiths, University of London in association with the New Statesman.

The Goldsmiths Prize has been established to celebrate creative daring and to recognise published fiction that opens up new possibilities for the novel form. The annual prize will be awarded to a book that is deemed genuinely novel and which embodies the spirit of invention that characterises the genre at its best.

Jonathan Derbyshire, Culture Editor of the New Statesman, says: “The New Statesman is delighted to be supporting a prize that rewards invention and innovation in fiction – qualities that the magazine has long promoted in its literary pages. We are especially pleased to be entering into partnership with an institution as forward-looking as Goldsmiths.”

The prize will be officially announced today at a reading by Booker Prize-winning novelist James Kelman, part of a series of author talks organised by the new Writers’ Centre at Goldsmiths. After the reading, Kelman will discuss the art of the novel with Derbyshire.

Blake Morrison, poet, author and Professor of Creative & Life Writing at Goldsmiths, commented: “We hope [the prize] will encourage more risk-taking among novelists, editors and agents alike. There’s an idea that innovative and genre-busting books are bound to be inaccessible. We don’t believe that’s the case.”

Tim Parnell, Head of the Department of English and Comparative Literature, added: “Serious discussion of the art of fiction is too often confined to the pages of learned journals and we hope the prize and the events surrounding it will stimulate a much wider debate about the novel.”

Publishers are invited to submit their entries from Friday 25 January 2013 to Friday 22 March 2013. The Prize is open to novels published in 2013 and there is no limit to the number of titles that may be entered by a publisher or bona fide imprint, provided the works entered meet all other entry requirements. 

The entries will be judged by an expert panel consisting of British novelists Nicola Barker and Gabriel Josipovici, Jonathan Derbyshire and Dr Tim Parnell.

For more details, terms and conditions, or to download The Goldsmiths Prize submission form, visit http://www.gold.ac.uk/goldsmiths-prize/

Reading material: the Goldsmiths Prize rewards innovation in fiction (Photo: Getty Images)
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Why does food taste better when we Instagram it?

Delay leads to increased pleasure when you set up a perfect shot of your dinner.

Been on holiday? Take any snaps? Of course you did – but if you’re anything like me, your friends and family didn’t make it into many of them. Frankly, I can only hope that Mr Whippy and I will still be mates in sixty years, because I’m going to have an awful lot of pictures of him to look back on.

Once a decidedly niche pursuit, photographing food is now almost as popular as eating it, and if you thought that the habit was annoying at home, it is even worse when it intrudes on the sacred peace of a holiday. Buy an ice cream and you’ll find yourself alone with a cone as your companion rushes across a four-lane highway to capture his or hers against the azure sea. Reach for a chip before the bowl has been immortalised on social media and get your hand smacked for your trouble.

It’s a trend that sucks the joy out of every meal – unless, that is, you’re the one behind the camera. A new study published in the Journal of Personality and Social Psychology suggests that taking pictures of food enhances our pleasure in it. Diners at the food court of a farmers’ market in Philadelphia were asked either to photograph their meal or to eat “as you normally would”, then were questioned about how they found it. Those in the photography group reported that not only did they enjoy their meal more, but they were “significantly more immersed in the experience” of eating it.

This backs up evidence from previous studies, including one from this year in the Journal of Consumer Marketing, which found that participants who had been asked to photograph a red velvet cake – that bleeding behemoth of American overindulgence – later rated it as significantly tastier than those who had not.

Interestingly, taking a picture of a fruit salad had no effect on its perceived charms, but “when descriptive social norms regarding healthy eating [were] made salient”, photographing these healthier foods did lead to greater enjoyment. In other words, if you see lots of glossy, beautifully lit pictures of chia seed pudding on social media, you are more likely to believe that it’s edible, despite all the evidence to the contrary.
This may seem puzzling. After all, surely anything tastes better fresh from the kitchen rather than a protracted glamour shoot – runny yolks carefully split to capture that golden ooze, strips of bacon arranged just so atop plump hemispheres of avocado, pillowy burger buns posed to give a glimpse of meat beneath. It is hardly surprising that 95 million posts on Instagram, the photo-sharing site, proudly bear the hashtag #foodporn.

However, it is this delay that is apparently responsible for the increase in pleasure: the act of rearranging that parsley garnish, or moving the plate closer to the light, increases our anticipation of what we are about to eat, forcing us to consider how delicious it looks even as we forbid ourselves to take a bite until the perfect shot is in the bag. You could no doubt achieve the same heightened sense of satisfaction by saying grace before tucking in, but you would lose the gratification that comes from imagining other people ogling your grilled Ibizan sardines as they tuck in to an egg mayonnaise at their desk.

Bear in mind, though, that the food that is most successful on Instagram often has a freakish quality – lurid, rainbow-coloured bagel-croissant hybrids that look like something out of Frankenstein’s bakery are particularly popular at the moment – which may lead to some unwise menu choices in pursuit of online acclaim.

On the plus side, if a diet of giant burgers and salted-caramel lattes leaves you feeling queasy, take heart: if there is one thing that social media likes more than #avotoast, it is embarrassing oversharing. After a week of sickening ice-cream shots, a sickbed selfie is guaranteed to cheer up the rest of us. 

Felicity Cloake is the New Statesman’s food columnist. Her latest book is The A-Z of Eating: a Flavour Map for Adventurous Cooks.

This article first appeared in the 25 August 2016 issue of the New Statesman, Cameron: the legacy of a loser