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We can try to bend the novel to fit our politics or culture, but it will always go its own way, making itself anew.
Alongside books by Deborah Levy and Mark Haddon, the prize for "literature at its most novel" has chosen politically engaged works from independent publishers for its 2019 shortlist.
The £10,000 prize for “fiction at its most novel” is also now open to authors of any nationality, provided they have been resident in the UK or Republic of Ireland for a minimum of three years.
Robin Robertson has won this year’s Goldsmiths Prize, in association with the New Statesman, for his verse novel The Long Take. The chair of judges, Adam Mars-Jones, praises a powerful elegy of postwar America.
Rachel Cusk on political writing, the problems of female experience, and her Goldsmiths Prize-shortlisted novel Kudos.
The poet discusses film noir, the lost heart of Los Angeles, and his Goldsmith Prize-winning verse novel The Long Take.
Guy Gunaratne on his Goldsmiths Prize-shortlisted novel In Our Mad And Furious City, “authenticity” in fiction, and why you can’t write about London today without understanding how the city sounds.
Gabriel Josipovici on his Goldsmiths-shortlised novel The Cemetery in Barnes, agendas in fiction, and whether literary prizes are a force for good.
Olivia Laing discusses her Goldsmiths Prize-shortlisted novel Crudo, the unstable political moment, and the book that best describes how fascism rises.
In the 2018 New Statesman / Goldsmiths Prize lecture, Elif Shafak explains why – in a world ruled by fear and division – novelists no longer have the luxury of being apolitical.