Granta - Sarcasm Wiki

Contents

1. Overview
2. Etymology
3. Cultural Impact

For other uses, see Granta (disambiguation) .

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Granta Granta 142 Editor Thomas Meaney Categories Literary magazine Frequency Quarterly Publisher Sigrid Rausing Total circulation (2023) 23,000 Founded 1889; 136 years ago (1889) First issue Relaunch: 1 September 1979 Country United Kingdom Based in London Language English Website www .granta .com ISSN 0017-3231

Granta, a name that echoes with a certain gravitas in the world of letters, stands as a distinguished literary magazine and an associated publishing house based in the United Kingdom . Its core directive, as articulated by the institution itself, is rooted in an unwavering “belief in the power and urgency of the story, both in fiction and non-fiction, and the story’s supreme ability to describe, illuminate and make real.” This isn’t merely a mission statement; it’s the very bedrock upon which its editorial decisions are made, suggesting a profound conviction in the narrative’s capacity to transcend mere entertainment and instead serve as a vital lens through which to comprehend the complexities of existence. As The Observer aptly noted in 2007, “In its blend of memoirs and photojournalism, and in its championing of contemporary realist fiction, Granta has its face pressed firmly against the window, determined to witness the world.” This observation underscores Granta’s persistent commitment to engaging with reality, not from a detached, academic distance, but with an urgent, almost visceral proximity, seeking out narratives that resonate with the pulse of contemporary life.

The enduring impact and discerning editorial eye of Granta are further evidenced by its remarkable track record: the magazine has been a publishing home for no fewer than twenty-seven recipients of the Nobel Prize in Literature . This impressive roster speaks volumes about its consistent ability to identify and cultivate literary talent that eventually garners the highest international accolades. Beyond the Nobel, literature first brought to light within the pages of Granta has frequently been honored with an array of prestigious literary awards, including the Forward Prize , the T. S. Eliot Prize , and the Pushcart Prize , among others. This consistent recognition across various categories of literary excellence solidifies Granta’s position not just as a periodical, but as a significant cultural arbiter and a launching pad for some of the most compelling voices in modern literature.

History

One might think that a publication with such a storied reputation would have its origins meticulously documented, but as with many venerable institutions, certain historical details require a more diligent excavation, as indicated by the persistent need for additional verification and expansion concerning its earliest decades.

Granta first emerged from the intellectual ferment of Cambridge University in 1889, christened simply The Granta. It was conceived as a student-run periodical, a common enough endeavor in academic circles, and initially edited by R. C. Lehmann , who would later go on to become a notable contributor to the satirical magazine Punch . In its nascent form, the magazine served as a platform for a predictable mix of student concerns: campus politics, lighthearted banter, and earnest, if sometimes unpolished, literary endeavors. The choice of title was a nod to local geography, deriving from the River Granta , which was the medieval appellation for the River Cam – the very waterway that meanders through the heart of Cambridge. While “Cam” is now the prevailing name for the main river, “Granta” persists in referring to its upper reaches, a small echo of history in a name that would come to signify far more. Among its early editorial custodians was R. P. Keigwin , a man of diverse talents known both as an English cricketer and a Danish scholar. Later, from 1912 to 1913, the editorial reins were held by Edward Shanks , a poet, writer, and literary reviewer of some repute.

In this initial guise, the magazine carved out a long and, by all accounts, distinguished legacy within the university sphere. It notably served as an early showcase for the juvenilia – the youthful, often formative works – of numerous writers who would later achieve considerable fame and influence. This list includes such luminaries as Geoffrey Gorer , the literary critic William Empson , the playwright and novelist Michael Frayn , the poet Ted Hughes , the beloved children’s author A. A. Milne , the poet and novelist Sylvia Plath , the journalist Bertram Fletcher Robinson , the esteemed foreign correspondent John Simpson , and the distinctive poet Stevie Smith . The publication of their early efforts within The Granta offers a fascinating glimpse into the nascent stages of literary genius, suggesting that even then, the magazine possessed an uncanny knack for identifying promising talent.

Rebirth

By the 1970s, the once-vibrant student publication found itself grappling with a familiar foe: financial precarity, coupled with what was described as increasing levels of student apathy. It seemed destined to fade into the annals of collegiate history, a fate that many such ventures meet. However, a turning point arrived when a dedicated cohort of interested postgraduates stepped in, effectively orchestrating a rescue mission. This group included figures who would later make their own marks, such as the writer and producer Jonathan Levi , the journalist Bill Buford , and Peter de Bolla, who has since become a Professor of Cultural History and Aesthetics at Cambridge University .

Their intervention proved transformative. In 1979, the magazine underwent a successful and decisive relaunch, shedding its purely collegiate skin to re-emerge as a national publication dedicated to “new writing.” This pivotal shift meant that both its contributors and its readership were now drawn from a much broader, non-university audience. The inaugural issue of this revitalized Granta was pointedly titled “New American Writing,” signaling its expanded scope and ambitions. Bill Buford , known for his immersive journalism (his book Among the Thugs originally began as a project for the journal), served as the editor for the initial sixteen years of this new incarnation, a period that cemented Granta’s reputation. During his tenure, the editorial staff also included notable figures like Richard Rayner and the novelist Carole Morin . Following Buford’s significant run, Ian Jack took the helm, editing Granta from 1995 until 2007, maintaining its trajectory as a leading literary voice.

The magazine’s influence wasn’t confined to the English-speaking world; since 2003, Granta has also been published in Spain in Spanish, broadening its cultural reach and introducing its distinctive blend of fiction and non-fiction to a new linguistic audience. A series of editorial transitions followed in quick succession. In April 2007, it was announced that Jason Cowley , then editor of the Observer Sport Monthly, would succeed Jack in September of that year. Cowley embarked on a redesign and relaunch of the magazine, alongside the introduction of a new website, aiming to modernize its aesthetic and digital presence. However, his tenure was brief, as he departed in September 2008 after being selected as editor of the esteemed New Statesman .

Alex Clark , previously the deputy literary editor of The Observer , then made history as the first female editor of Granta. Her appointment marked a significant moment for the publication, though her time at the helm was also relatively short, as she left in late May 2009. The American editor John Freeman subsequently assumed the role, continuing the magazine’s commitment to diverse and compelling narratives.

As of 2023, Granta’s circulation stands at a respectable 23,000 copies, a testament to its enduring appeal in an increasingly fragmented media landscape. The 164th issue heralded another editorial shift: Sigrid Rausing , who had guided the magazine since 2013, announced her decision to pass the editorship to Thomas Meaney, with his tenure commencing with the Autumn issue of 2023. These transitions, while frequent, illustrate a continuous effort to refresh and adapt the magazine’s vision while upholding its fundamental principles.

Ownership

The trajectory of Granta’s ownership reflects the broader shifts in the publishing world, moving from independent stewardship to a period under a larger media entity, and then back to a more focused, philanthropically-minded model. In 1994, Rea Hederman , the proprietor of The New York Review of Books , acquired a controlling stake in the magazine. This acquisition brought Granta under the umbrella of a respected, intellectually rigorous publishing group, potentially offering new synergies and stability. However, a decade later, in October 2005, control of the magazine transitioned once again, this time to Sigrid Rausing . Rausing’s acquisition marked a significant turning point, bringing a new vision and substantial backing to the publication. Demonstrating a long-term commitment to the magazine’s independence and mission, Rausing further solidified its future by establishing the Granta Trust in 2019, which now serves as the official owner of the magazine. This move effectively insulates Granta from purely commercial pressures, allowing it to remain dedicated to its literary and journalistic mandate.

Granta Books

The inherent success and editorial discernment of the magazine naturally led to an expansion into book publishing. In 1989, under the editorship of Bill Buford , Granta Books was founded. This publishing imprint was not merely an ancillary venture but was established with a clear and ambitious aim: to publish works that “stimulate, inspire, address difficult questions, and examine intriguing periods of history.” This mission closely mirrors the magazine’s own commitment to impactful storytelling, ensuring a cohesive editorial philosophy across both platforms. Owner Sigrid Rausing has been particularly vocal about her dedication to maintaining these exacting standards for both the magazine and the book imprint. In an interview with the Financial Times , she articulated a principled stance against succumbing to market-driven trends, stating, “[Granta] will not publish any books that could not potentially be extracted in the magazine. We use the magazine as a yardstick for our books…. We are no longer going to look at what sells as a sort of argument, because it seemed to me that we were in danger of losing our inventiveness about what we wanted to do.” This declaration underscores a rare and commendable commitment to literary quality over commercial expediency, aiming to preserve the imprint’s distinctive voice and adventurous spirit. Authors who have recently found a home with Granta Books include Michael Collins , Simon Gray , Anna Funder , Tim Guest , Caspar Henderson , Louise Stern , and the Nobel laureate Olga Tokarczuk , among others, demonstrating the breadth and depth of talent attracted to its literary vision.

When Sigrid Rausing acquired Granta, she also brought her existing publishing imprint, Portobello Books, which she had founded in 2005. This move initially expanded the Granta publishing family. However, in a strategic consolidation that took effect in January 2019, the Portobello Books imprint was officially closed. All authors previously contracted under Portobello Books were subsequently integrated and published under the Granta Books imprint, streamlining operations and focusing the collective editorial energy. The distribution network for Granta Books is robust: in the United Kingdom , its titles are distributed by The Book Service , a key player in the British publishing supply chain, while in the United States , Granta Books are distributed by Ingram Publisher Services , ensuring wide availability across major markets.

Granta Best of Young British Novelists

Perhaps one of Granta’s most impactful and frequently discussed initiatives is its “Best of Young British Novelists” list. This tradition began in 1983 with issue #7, which presented a curated selection of 20 promising young British novelists, effectively anointing them as significant talents to observe in the literary landscape of the future. The magazine has since reprised this influential recognition of emerging writers with a decennial rhythm: in 1993 (issue #43), 2003 (issue #81), and most recently in 2013 (issue #123). The concept’s success led to its extension beyond British shores. In 1996 (issue #54), Granta published a similar list spotlighting promising young American novelists, a tradition it repeated in 2007 (issue #97). Further demonstrating its global reach and commitment to identifying talent, Granta issue #113 in 2010 was dedicated to the best young Spanish-language novelists, and a “Best of Young Brazilian Novelists” list was published in 2012.

The prescience of these selections has been remarkable. A significant number of the writers identified on these lists have subsequently gone on to achieve major literary success, including winning or being shortlisted for prestigious awards such as the Booker Prize and the Whitbread Prize , confirming Granta’s exceptional eye for nascent genius.

However, such influential lists are rarely without their share of contention. The 2003 list, for instance, generated considerable debate, particularly concerning the inclusion of Adam Thirlwell and Monica Ali , neither of whom had yet published a novel at the time of their selection. Thirlwell’s debut novel , Politics , later received a mixed critical reception, proving that even Granta’s crystal ball isn’t infallible. In contrast, Ali’s Brick Lane was widely praised upon its release, validating the magazine’s early faith in her talent. Conversely, several established and critically acclaimed authors were controversially excluded from the 2003 list, prompting further discussion about the criteria and potential oversights. These included Giles Foden , Alex Garland , Niall Griffiths , Zoë Heller , Tobias Hill , Jon McGregor (who, notably, went on to win the International Dublin Literary Award less than a decade later), Patrick Neate , Maggie O’Farrell , and Rebecca Smith.

Amidst the literary discussions, the 2003 list also became intertwined with broader socio-political events. Dan Rhodes , one of the selected novelists, reached out to his fellow list-makers in an attempt to forge a joint public statement protesting the impending Iraq War , which was rapidly gaining momentum at the time. While not all writers responded to his call, Rhodes’s disappointment was profound enough to make him consider abandoning writing altogether. Thankfully, he ultimately continued his literary career, a testament to the enduring, if sometimes frustrated, spirit of artistic conviction.

A notable evolution occurred with the 2023 iteration of the list, which, for the first time, expanded its definition of “British” to include international writers who have made the United Kingdom their home. This move reflects a broader contemporary understanding of national identity and literary contribution, acknowledging the rich tapestry of voices that contribute to the UK’s cultural landscape.

Ageism controversy

The practice of compiling “young” writers lists, while often celebrated for highlighting fresh talent, has predictably drawn criticism for its inherent age restrictions. Granta, along with other similar awards and institutions, has faced accusations of contributing to ageism within the publishing industry by actively promoting an age-restricted vision of literary success. This debate highlights a perennial tension between the desire to spotlight emerging voices and the potential to inadvertently marginalize experienced authors who may come to writing later in life.

Erica Wagner , writing in The Times , voiced her dissatisfaction not only with the perceived ageism of the Granta list but also with its perceived predictability, suggesting that such curated selections sometimes reinforce existing literary trends rather than genuinely breaking new ground. Joanna Walsh , in a piece for The Guardian , argued more broadly that age-restricted awards often disproportionately discriminate against women, people of color, LGBTQ individuals, and other groups who may, for various socio-economic or personal reasons, embark on their writing careers later in life. Expanding on this point in the Irish Examiner , Walsh further questioned the arbitrary nature of these age limits, pointing out the inconsistency that Granta’s sister publication in the Spanish-speaking world applies a different age limit of 35 for what is essentially the same award. She also drew a pertinent parallel to employment law, where age restriction of this sort is legislated against, implying that the literary world might benefit from similar considerations.

The critique has extended beyond journalists and critics. David Cutler of the Baring Foundation highlighted the precedent set by the Turner Prize , which notably abolished its age limit in 2017, a full six years before the latest Granta list. This comparison suggests that other cultural institutions are already moving towards a more inclusive model. Even writers who have been selected for the list have voiced their concerns. Yara Rodrigues Fowler explicitly tweeted that “Age cut offs are discriminatory to women, carers, disabled + working class ppl” and contribute to “a more boring and homogenous literature.” Similarly, Philip Hensher , himself a recipient of Granta’s recognition, has publicly stated that he “regards such age-related line-ups as artificial and particularly unfair to women,” reinforcing the sentiment that such categorization, while perhaps well-intentioned, can have unintended exclusionary consequences.

1983

The inaugural list, a foundational moment for Granta’s influential “Best of Young British Novelists” series, showcased a generation of writers who would largely define the literary landscape for decades to come.

1993

A decade later, Granta once again turned its discerning eye to the emerging talents of British fiction, presenting a new cohort of writers who were shaping the narratives of their time.

2003

The turn of the millennium brought a fresh examination of British literary potential, with Granta’s selection sparking both enthusiasm and, as is often the case with such pronouncements, a degree of debate.

2013

Another decade, another snapshot of the burgeoning talent within British literature, reflecting shifting styles and emergent themes.

2023

The most recent iteration of this influential list, notable for its expanded definition of “British” to embrace a more international perspective on home and identity, presented a fresh collection of voices shaping contemporary fiction.

Granta Best of Young American Novelists

Extending its discerning gaze across the Atlantic, Granta initiated a parallel series to identify and champion the most promising new voices in American fiction.

1996

The inaugural “Best of Young American Novelists” list offered a critical introduction to a generation poised to redefine American letters.

2007

More than a decade later, Granta revisited the American literary landscape, presenting a new selection of writers whose innovative storytelling and distinctive voices were capturing critical attention.

2017

The third installment of the “Best of Young American Novelists” continued Granta’s tradition of identifying and celebrating the most compelling new voices in American fiction, showcasing a diverse array of talent.

Granta Best of Young Spanish-Language Novelists

Demonstrating its commitment to a broader global literary conversation, Granta also launched an initiative to highlight exceptional emerging talents writing in Spanish, recognizing the vibrant literary scenes across various Spanish-speaking nations.

2010

The inaugural “Best of Young Spanish-Language Novelists” list brought together a significant collection of new voices from across the Spanish-speaking world, introducing them to a wider international audience.

2021

A decade after its first Spanish-language list, Granta again spotlighted a new generation of writers, continuing to highlight the diverse and dynamic literary landscape of the Spanish-speaking world.

Granta Best of Young Brazilian Novelists

From left to right: Antonio Prata , Javier Arancibia, Leandro Sarmatz , Julian Fuks , Antonio Xerxenesky , Vinicius Jatoba, Miguel del Castillo and Emilio Fraia

Expanding its focus to another significant linguistic and cultural sphere, Granta presented its selection of the most promising young novelists from Brazil, showcasing the richness of contemporary Portuguese-language fiction.

2012

The “Best of Young Brazilian Novelists” list in 2012 provided an insightful glimpse into the innovative narratives and diverse voices emerging from Brazil’s dynamic literary scene.