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Nobrow Short Story Competition – Final Selection and Winner Announced

In September last year we launched our first ever Short Story Competition to support new and emerging short form writers of fiction and non-fiction. We put out an open call for writers to send us their response to the chosen theme of ‘The Censor’. We were overwhelmed by the response from all over the world and impressed by the high quality of writing. We have had the pleasure to read so many ingenious and surprising short stories from a diverse selection of writers. 

“Selecting twelve stories and one winner from over two thousand entries was a daunting prospect for us. But, of all of the daunting prospects we have had in the last 12 months (and there have been many) this one was undoubtedly the most enjoyable, most fascinating and most fulfilling! 

The final twelve stories are as moving as they are inspiring and have all been lovingly crafted by writers from all over the world. The winning story rather than being better or more deserving than any of the others is simply a reflection of all of the best writing that we received and importantly it addressed the theme in an original, thought provoking, poignant, personal and humorous fashion. Writing about such a serious subject whilst maintaining a firm grasp on the human condition is what it manages above all else and for that reason we are delighted to have judged it our winning entry.” Sam Arthur, C.E.O. at Nobrow.

We are proud to announce the twelve, brilliant stories that will make up the first Nobrow Short Story Collection:

Winner

Aiden Shaw’s Penis – Ali Said 

Runners-up

Fortress – Catherine Rudolph 

Penguin: A Flightless Migratory Bird – Selma Carvalho 

Redact – Michael Harris Cohen 

Reflections – Mubanga Kalimamukwento 

Refracted – Stephanie Wilderspin 

The General and the Birds – Fernando A. Torres 

The Many Different Lives of Denola – Oluwatimilehin (Timi) Odueso 

The Song Bird – Nathan Alling Long 

The Very Best is Available to Me – Deborah Green 

Three Acts from a Woman’s Life – Mitra Madadi 

Vestiges – Kiki Gonglewski 

Congratulations to Ali Said and all our selected writers. The twelve stories will be published in a beautiful anthology in Spring 2021. We will be sharing more information about the book over the coming months so do keep an eye on our social media channels for news. 

To help us select these final twelve stories and the overall winner from the 25 shortlisted titles, we were delighted to welcome Coco Khan and Amyra León to our judging panel.

Coco Khan, is a London-based journalist for the Guardian, writing on arts media and popular culture often through a political lensShe is a contributing writer to two short story anthologies, The Good Immigrant and It’s Not About the Burqa.  

 “The quality and richness of writing in this competition cannot be understated. The final collection is lush in its diversity of voices, styles and thinking. It is no small feat to take a reader on a narrative journey which, as well as having engaging storyline and characterisation, interrogates what it means to be censored – by whom and how – and what a freedom from that can look like? And in less than 3000 words.

Together, the stories look at censorship in a range of countries, communities and contexts – from censoring by the state to censoring of the self. Yet, despite their differences there were universal themes – how we find crevices to express ourselves even when it is denied. and how the act of storytelling itself is its own form of both censorship and freedom from it. 

Selecting the final 12 was (perhaps unsurprisingly) very challenging, and many of those that did not make it in were exceptional stories. I was particularly moved by Kendall Klym’s Obituary of an Outcast, which although will not joining the final 12, experimented with form to create a tender portrayal of an isolated misfit through the few posthumous messages left for him. 

It was an honour to judge the competition and I am excited to read more from these writers.”

Amyra León, is a New York City-based author, playwright, musician and activist. Her work fuses music and poetry focusing on social inequalities and communal healing. She has three literary works due to be published in 2020. 

“Trust me this collection will have you laughing, crying, and enraged from beginning to end! Aiden Shaw’s Penis intricately explores censorship on a personal societal and universal level whilst keeping us somewhere between laughter and heartbreak.”

As well as our judges, we would like to say a big thank you to the huge team of readers whose thoughts and expertise helped us to narrow down all the entries in the early stages of the competition. Thank you to Anita Goveas, Anna Livia Ryan, Carmina Berhnardt, Catriona Knox, Charlotte Forfieh, Christopher Newlove Horton, Claire Blakemore, Emily Ford, Ericka Banerji, Graeme Williams, Jupiter Jones, Karen Clarke, Katie Baldock, Laurane Marchive, L M Dillsworth, Lilian Weber, Lou Kramskoy, Louise Hare, Madi Maxwell-Libby, Mandy Rabin, Mari Lawton, Miranda Miller, Natasha Baddeley, Natasha Cutler, Nise McCulloch, Patrick Towey, Roanne O’Neil, Sabrina Richmond, Satu Hämeenaho-Fox, Simon Miller, Wendy Lothian and Zoë Aubugeau-Williams.

Above all, thank you to the writers from all around the world for telling their stories and sharing them with us. 


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Reza Dalvand on Mrs Bibi’s Elephant

Just as spring sprung, and the blossom bloomed (and the world went into lockdown) in April, we released Mrs Bibi’s Elephant beautifully illustrated by talent Reza Dalvand, a Tehran-based illustrator and author of children’s books.

A heart-warming story with a message as big as an elephant, this fanciful tale of friendship between an eccentric lady and her beloved pet is as poignant as it is beautiful!

Eager to know more about Reza’s new book and the process behind it? We caught up with him to tell us more on this gently uplifting tale that has the feel of a modern fable and is a timely reminder about the importance of friendship and acceptance.

Flying Eye Books: Mrs Bibi’s Elephant is a charming story about a lady and her beloved pet. What inspired you to write this story? 

Reza Dalvand: The base of the story was from a few years ago, when my neighbour had a cat. She was an old woman who lived with a cat and she spent all her time with that cat. It was a little weird to others, but I thought they were so cute. So, I mixed it with so many dreams and a drama, and of course a giant elephant! 

FEB: Is there a meaningful message that you want to teach children through Mrs Bibi’s story? 

RD: Yes, I would love for the readers to feel the love and friendship and to understand and accept different thoughts and lifestyles. And I refer to the last page of the book, I hope everyone learns that home is more than just a place for fancy objects and economics. It’s a place for living.

FEB: What do you love most about writing and illustrating for children’s books? 

RD: Being a creator! It’s super when I think about an idea, and then I write, illustrate and give it to children! I can share my dreams, my thoughts and my emotions with others! It’s wonderful that I can be a part of families around the world. When I write and illustrate a book, I think how can I be effective. I’d like children back to my books several times and learn, enjoy and laugh.

FEB: The illustrations are as charming and beautiful as the story of Mrs Bibi and her elephant. Could you tell us about your creative process?

RD: Oh, thank you! At first, I choose a suitable paper, it’s important to me. I prefer heavy and rough papers. Normally my sketches are without details (although the sketches of Mrs Bibi’s Elephant were with details) and some of aspects come by improvisation and I don’t know what will happen at the end! I finished the book by oil colour, pencil, crayon and marker. My favourite technique is oil colour in the mix with other tools.

FEB: What sort of challenges do you encounter as the writer and illustrator? 

RD: I think to make a balance between marketing and personal creativity. I have a lot of personal great ideas for making a book, but I know some of them are not good for the market. It depends on the country, culture, language and marketing criteria. Sometimes the publishers ask me to change some lines or illustrations! Although I would love my books be without any change, I do know some of these changes are effective in selling the book and it’s better to trust them :)

FEB: If you could have any animal as a pet just like in Mrs Bibi’s Elephant, who would be your companion? And why? 

RD: I love birds but I think dogs are best friends for human. They have been with us for 15,000 years and we know each other pretty well. The story talks about love of nature and a big elephant is a symbol of kindness. So, we can have a love of elephant in the heart and keep a pet like a dog or a cat. I have a cute dog, too. Her name is Tzores (although we don’t live together now).

FEB: And finally, what advice would you give to other author/illustrators interested in making books for a young audience?

RD: Don’t despair and keep going! Read and watch more of other artists, different types and genres! Talk with kids and ask them what they want, their dreams and fears. They will be your main fans. Try different materials and finally, you will find which one is yours. And take care, exercise and stay healthy! An artist needs a well body to create ;)

Order a copy of Mrs Bibi’s Elephant here.

 


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Nobrow Short Story Competition Shortlist Announced!

In September last year we launched our first ever Short Story Competition to support new and emerging short form writers. We put out an open call for writers to send us their response to the chosen theme of ‘The Censor’. We were overwhelmed by the response from all over the world and impressed by the high quality of writing. We have had the pleasure to read so many short stories that are diverse, ingenious and surprising. And after a long reading process we are excited to announce the 25 shortlisted stories that have made it through to our final judging round. 

In alphabetical order by title, the 25 shortlisted stories are:

Aiden Shaw’s Penis – Ali Said

Ask Me No Questions – Joe Martin

Baldilocks – Shikhandin

Borders – Simon Birks

Ebb and Flow – Kazia Polak

Fortress – Catherine Rudolph

Inspiration – Sloane Leong

Just to You – Jane Copland

Obituary of an Outcast – Kendall Klym

Oxbridge Environmental Dictionary – Gabriel Hemery

Penguin: A Flightless Migratory Bird – Selma Carvalho

Redact – Michael Harris Cohen

Reflections – Mubanga Kalimamukwento

Refracted – Stephanie Wilderspin

The Closed Door – Alice Haworth-Booth

The Colour of the Sun – Penelope Atkinson

The door of a public bathroom stall is a pigeon with a thousand letters bound to its feet – Mohsen Emaamverdi

The General and the Birds – Fernando A. Torres

The Many Different Lives of Denola – Oluwatimilehin (Timi) Odueso

The Song Bird – Nathan Alling Long

The Very Best is Available to Me – Deborah Green

Three Acts from a Woman’s Life – Mitra Madadi

Vestiges – Kiki Gonglewski

Words – Rae Theodore

Wrestling with Plato – Edward Barnfield

To help us select our final 12 stories and the overall winner from these, we are delighted to welcome the expertise of two external judges to our judging panel:

Amyra Leon is a New York City-based author, playwright, musician and activist. Her work fuses music and poetry focusing on social inequalities and communal healing. She has three literary works due to be published in 2020. 

Coco Khan is a London-based journalist for the Guardian, writing on arts media and popular culture often through a political lensShe is a contributing writer to two short story anthologies, The Good Immigrant and It’s Not About the Burqa.  

The 25 shortlisted stories will be narrowed down to the final 12 to be published in a beautiful anthology next year. An overall winner will be selected and they will receive £2000 prize money. We will make the final announcement on Tuesday May 26th


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Philip Giordano on I Ate Sunshine for Breakfast

In this time of strange uncertainty and worry, so many of you have been loving the bright and beautiful illustrations from I Ate Sunshine for Breakfast, so to tell you a bit more about them, we had a (socially distant) chat with their creator, Philip Giordano.

Born in a small coastal town in Liguria, Italy, to a Filipina mother and Swiss father, Philip Giordano is a tireless globetrotter, who now lives and works in Tokyo. After studying at the Brera Academy of Fine Arts and at the European Institute of Design, he earned a Master in Animation in Turin. He works for a number of magazines and publishing houses around the world, illustrating book covers, designing toys, and creating children’s books and animations.
The simple and colorful shapes of his illustrations, his iconic characters, and his graphic landscapes render his unique style immediately recognizable and transform his stories into breathtaking visual journeys. 

Flying Eye Books: The illustrations of I Ate Sunshine for Breakfast are absolutely stunning and brimming with life from all kinds of habitats. Where did you get your inspiration for the book?

Philip Giordano: When I was young, I grew up surrounded by plants. I was lucky because my home in Italy is located between the sea and the green Ligurian countryside. My mother taught me her love for gardening. I remember that inside the house we had large trunks where she planted the orchids she brought from the Philippines (her native country) and other exotic plants that she grew to feel connected to her Asian roots. It felt like being in a jungle.

As a child, I was struck by a photo of Margaret Mee (a British botanical artist specialized in plants from the rainforest and ecological activist) in one of my mum’s gardening magazines. She was suspended over the forest intent on painting the flower of a species that blooms only at night (I think it was called Moonflower).

So I started collecting plants and became a plant nerd at an early age, hoping one day to become like her: a sort of brave 19th-century explorer and discoverer of new species. And I knew for sure that I wanted to draw them!

FEB: Illustrating text written by expert ecologist and educator Michael Holland, did you learn a lot of things about the wildlife you never knew before?

PG: I already had some knowledge of the plant world, but working on “I Ate Sunshine for Breakfast” I discovered a lot of facts, especially from chapter three where Michael explains how much plants are present in and connected to our daily life. For example, when he talks about a fern from New Zealand that Māori hunters would use to find their way back home after hunting at night because the undersides of these plants’ fronds are visible. I was amazed to learn this! 

FEB: Working with educational and factual text on nature did you find it difficult to accurately illustrate plant and animal anatomy whilst making sure the children understand the processes of nature visually?

PG: The main challenge was to create scientific illustrations while maintaining my geometric, abstract, colourful and surreal style. I hope I stuck a good balance amongst all these elements.

To introduce the world of plants to children, I created a group of humanised quirky insect characters led by “Little Square”, a square-shaped fly, that appear throughout the book.

FEB: What is your creative process when working on a children’s book? How does this differ to other work you’ve been commissioned for?

PG: It’s my first non-fiction book and there is a lot of illustrated page: 114! As I’ve never done a book before dedicated exclusively to plants, it was something completely new, regarding both the non-fiction aspect as well as the amount of work to be managed in a limited time. It was a bit overwhelming, but also very exciting.

Fortunately, I got to work with an excellent team. I’d like to thank the remarkable designers for their outstanding direction as well as my dear agent for her reassurance in difficult moments.

FEB: And was there a most challenging part you found working on I Ate Sunshine for Breakfast?

PG: One of the difficult parts was managing the work in different locations. During the making of the book, I was travelling a lot for work. The storyboard part started in the Japanese countryside and ended around Taiwan and Honk Kong. Most of the final illustrations were made in my hometown in Italy.

I was fortunate in that I got ideas by directly observing the flora in the different countries I visited. Like some strange fruits eaten in Hong Kong, or tropical ferns spotted in Taiwan, or ancient pine trees in Japan. I tried to put these things into the book. (You can spot them ;) )

FEB: Your artwork is SO vibrant and bursting with energy, where do you get your colour inspiration from? And how do you create your textures?

PG: From my childhood, from all the time I spent alone in the fields watching insects and other small creatures all day long. From a book, found in Tokyo before starting the project, about fabrics and wallpapers from the fifteenth century to the present day. There are beautiful and unusual palettes. I create my textures by scanning patterns made using monotype techniques, ink brush strokes, collage out of old paper.

FEB: The animals and plants illustrated in geometric, dramatic art style have such beautiful quality. How did you develop this visual style?

PG: approached illustration because I wanted to reproduce the beauty of natural creatures, their colour and their complexity. My course in naturalistic painting (20 years ago!) gave me the basis to faithfully reproduce things with pictorial mediums. I still have the hobby of painting realistically on wooden boards.

At a certain point, however, I was fed up with representing reality, with all its shadows, shades, perfect proportions and boring rules on perspective. I needed to simplify, tidy up, see things from another point of views. This coincided with my arrival in Japan where I’ve been living for the last 9 years. In particular, I immediately fell in love with a certain essential and geometric Japanese graphic style from the 1950s (Takashi Kono) and started to observe and study them. It was a natural process. And, I was in Japan where the abstraction of forms is the basis of their aesthetics.

FEB: If forced to pick just one plant, which is your favourite of all?

PG: From the plants I draw, one of my favourites is the tulip with its bulb and roots. One of my favourite plants (a Plant that I want at home with me) is the big fern tree! I think I miss the jungle house of my childhood.

FEB: And what was your most favourite part of the book to illustrate?

PG: I had fun creating the compositions of the 4 chapters. One of my favourite pages is “Watery World”.

Thanks so much for taking the time to answer our questions Philip!

You can order a copy of I Ate Sunshine for Breakfast here and find downloadable activities to do at home here.