Rob Newman and Meaghan Delahunt by Emily Koch

Robert Newman & Meaghan Delahunt review by Emily Koch

Cheltenham Festival of Literature

Sunday, October 12

Meaghan Delahunt and Robert Newman yesterday joined Marcus Moore in an unassuming discussion of their most recent novels, both set partly in Mexico.

Quizzed about the country and its people, the speakers had interesting insights to share. Delahunt revealed that she was surprised to hear so much Spanish being spoken when she visited the Spanish-speaking nation- she had expected Mexico to be very American but in fact it makes few concessions to the English language. This was supported by Newman with a tale from his time in Mexico when he went into a tape shop to find only one Anglo-saxon specimen – El Beatles – among numerous Samba compilations. When the Mexican populace were described as ‘without optimism’, Newman was defensive - ‘It’s actually very rare to find people without any optimism. Except maybe in Swindon.’ When Mexico was referred to as a ‘magical place’ Newman insisted that it wasn’t actually much different to ‘here’ full of ‘maquiladoras, hip hop and protests over tuition fees.'

When talk turned to writing techniques, Delahunt was quick to make clear that she is ‘more disciplined with my sit ups than I am with my writing’, prompting Newman to disclose that he was ‘rather more obsessive than disciplined. There are two gears,’ he explained, ‘indolence or obsession.’ They are both apparently happy with their novels: Delahunt is ‘as pleased with In the Blue House as you can be pleased with something. Which is always a little displeased’ and Newman, though denying any narcissism, enjoys reading The Fountain at the Centre of the World and making mental notes to recommend this fantastic book to his friends.
 
There was undeniably intriguing talent upon stage. Newman clearly had a lot in and on his mind – only able to share a selection of his thoughts in the hour, and Delahunt seems to be a bright fresh voice to anticipate more from after this, her first novel.
 

© Emily Koch

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