Jim Crace

“Inimitably excellent, Jim Crace stands on his own ground
among living English novelists...”

– Boyd Tonkin, The Independent




new Jim Crace novel,

The Melody,

to be published in UK by Picador

on February 8th 2018

and in USA by Nan Talese during Fall !


new deluxe edition of Continent

to be published by Ecco (Harper Collins, USA)

in June 2018




May 2017


This website was created and administered by Andrew Hewitt from January 2000 until May 2017. You can still read his insightful and informative comments in many sections below. Sadly, Andrew has decided to concentrate on other activities and other writers (especially Thomas Hardy). So www.jim-crace.com  has now become my inexpert responsibility. I hope to keep visitors up to date with news, with links and with a diary of events. I do not intend to make any critical or literary additions. My first post, below, is a brief chronology of Jim Crace’s writing career and his awards.


CANDORI, Rafaelo.


You can contact the website via rcandori@outlook.com

I am able to pass on mail to Jim Crace himself, to his agent in London, and his publishers in the USA and also in UK, but I cannot promise a reply from any third parties.





BIBLIOGRAPHY (Fiction only)


1977   Introduction 6 - Stories by New Writers

        Faber & Faber

1986   Continent        

        Heinemann (UK) * Harper & Row (USA)

1988   The Gift of Stones

        Secker & Warburg * Scribners

1992   Arcadia

        Jonathan Cape * Atheneum

1994   Signals of Distress

        Viking * Farrar, Straus & Giroux

1995   The Slow Digestions of the Night


1997   Quarantine

        Viking * Farrar, Straus & Giroux

1999   Being Dead

        Viking * Farrar, Straus & Giroux

2001   The Devil’s Larder

        Viking * Farrar, Straus & Giroux                            

2003   Six (UK), Genesis (USA)

        Viking * Farrar, Straus & Giroux

2007   The Pesthouse

        Picador * Nan A Talese

2010       All That Follows

        Picador * Nan A Talese

2013   Harvest

       Picador * Nan A Talese

2018     The Melody

       Picador * Nan A Talese






David Higham Prize for Fiction (for CONTINENT)

The Guardian Fiction Prize (CONTINENT)



Whitbread First Novel Award (CONTINENT)



Premio Antico Fattore (Italy)(CONTINENT)

GAP International Prize for Literature (for THE GIFT OF STONES)



Society of Authors’ Travelling Scholarship



The Royal Society of Literature’s Winifred Holtby Memorial Prize




E. M. Forster Award (American Academy of Arts and Letters)




QUARANTINE shortlisted for The Booker Prize.

 The Writers’ Guild Best Fiction Book nominee.



 Whitbread Novel of the Year  (QUARANTINE)



Elected as Fellow of The Royal Society of Literature.

QUARANTINE shortlisted for the International IMPAC Dublin Literary Award

BEING DEAD shortlisted for Whitbread Novel of the Year



Honorary Doctorate (D.Univ.) from the University of Central England, for

Distinguished Literary Achievements.



BEING DEAD - National Book Critics Circle Award  -  and selected as

Editors’ Choice, New York Times.



Honorary Doctorate (D.Lit.) from the University of Birmingham



Appointed Visiting Professor of Creative Writing at UCE/BCU



Premio Napoli (Italy)



Michener Residency Award (USA)



Visiting Professor of Creative Writing,

Michener Center, University of Texas



Visiting Professor of Creative Writing,

Michener Center,University of Texas



HARVEST shortlisted for the Man Booker Prize and the Goldsmith Prize.

National Book Awards (the Nibbies):  shortlisted for Writer of the Year.



Winner of the $150,000 Windham  Campbell Prize for Literary Achievement (USA)from Yale University.

HARVEST shortlisted for the Walter Scott Prize (for historical fiction.)

HARVEST awarded the James Tait Black Memorial Prize.

Visiting Professor of Creative Writing, University of Malta. Appointed Associate    Professor.



HARVEST winner of the Impac Dublin Literary Award       

Visiting Professor of Creative Writing,

Michener Center, University of Texas



Honorary Doctorate (D.Letters) from the University of Brighton,

“in recognition of his major contribution to the field of international literature.”



Awarded the Paisano Fellowship and the J.Frank Dobie Residency, at the University of Texas.



The Jim Crace literary archive is housed at the Harry Ransom Center at the University of Texas at Austin.





Preface for 2017 Ecco edition.


During the early 1980s when the seven component parts of Continent were being dreamt up and assembled, I was working as a freelance journalist with no plans or even a desire for leaving fact for fiction. Any reputation I had amongst the publications who regularly called me up was not based on my authoritative voice or my depth -or even width- of knowledge but on my workaday reliability. I could be counted on to tackle any subject thrown in my path, to become a shallow expert in a week or two, and then turn in clean, committed copy before the deadline. I also had the advantage of living in Birmingham, far enough away from London to be considered by metrocentric editors their local correspondent in the North, the East, the West and all points in between. Cornwall, Scotland and East Anglia were my backyards, in their deficient view. Isn’t that what living in the English Midlands meant? 

So I was kept busy and I made a decent if undistinguished living out of being provincial and dependable. Besides, I liked the life. Faking a different shallow expertise twice a month was my idea of fun. But if I had a future as a journalist, it could not be a long or rosy one. Already, the golden age of weekend colour supplements which valued photo-journalism and solemn, lengthy essay pieces was coming to an end in favour of celebrity profiles and fashion spreads in which even I was not prepared to forge a professional interest. A newly arrived editor at the Sunday Telegraph Magazine informed me that the sober articles I’d just delivered -about intractable wildlife mysteries- were not her sort of thing. Her ideal cover story, she said, would be The Rise and Fall of the Shoulder Pad. That was when I knew that very soon I’d have to look elsewhere for a living.

Then I had no choice. A long, deeply researched piece I’d written about the aftermath of the Tottenham riots and the two associated deaths was spiked -pulled at the final moment, in fact- by the Sunday Times editor, Andrew Neill, for what the gossip columnist Peterborough called “quasi-political reasons.” Its place was taken by a six-page fashion spread. Now, apart from book reviews, I was almost out of work.

However, I did have one commission I could fall back on. In the mid-Seventies I’d published a single short story called Annie, California Plates, a metaphorical homage to hitch-hiking. It appeared in The New Review -the richest and most prestigious literary magazine of the time- and it was then picked up by other magazines and widely anthologised. Publishers beat a passage to my door – or they would have done if only Birmingham had been a stop on the London tube network. Mostly they phoned and required me to make the journey south. Only one of them was prepared to risk the world beyond the metrolands and travel to Birmingham to begin what was to become a lifelong association. This was the young David Godwin, the celebrated literary editor and agent, then working for Heinemann. He offered me a contract for a novel, any novel, with a payment up front of £1500. I was not accustomed to his world. I was used to the Send It Now of journalism and not his patient Take Your Time. He was asking to be robbed. I knew enough about the world of books to understand that hardly anybody made a living out of them. So I spent the publisher’s advance (on camping equipment, as I recall) and did exactly what David had advised. I took his money and I took my time. But I didn’t write a word. For years. Of course, I had to pretend once in a while, when David called, that things were going very well, “but slowly”. There isn’t any rush, he said again, though not by now with much conviction.

But once the shoulder pad began its grim, relentless rise and my career as a journalist sank beneath its weight, I had no excuse but to sit down at my manual typewriter and give fiction a proper shot. At first I tried to write the kind of realist and political novel I admired myself (Steinbeck’s The Grapes of Wrath was my template), but pretty soon I recognised that I was singing in a stranger’s voice. The barrel I was scraping was an empty one (if I’m allowed to mix my metaphors). Then I struck lucky. I’d been asked to review a batch of novels for The Sunday Times. One of them was Gabriel Garcia Marquez’s In Evil Hour. I’d not encountered any magic realism before. I recognised at once its power and its inventiveness but felt no awe for it, not because Marquez was anything other than a master of the form but because the form itself was so much like the person I preferred to be when not on duty, when not the servile journalist who really ought to never even stretch a fact. Making things up, Marquez-style, was along with faking expertise my natural singing voice.

However, if I was a liar-cum-storyteller by nature and by impulse, I was a puritanical one. I had already lived for a period in the Sudan and Botswana and had travelled across Africa, the Indian Ocean, the Levant and Latin America; all powerful experiences and politically delicate. I wanted to write about the interfaces I’d encountered between the South and the North, or what were known then as the Developed and the Third worlds. But there were pitfalls. Fiction -especially the fiction by white men about Africa- had too often been distorting and harmful, using the continent as a blank page on which to foist European disfunctions: here, amongst their pages, were the brutes, the horrors, and the savage hearts of darkness. Surely, with inventive Marquez at my shoulder and decent Steinbeck marching at his rear, I could shake off the grubby grip of Conrad and write a work of fiction that did not besmirch any land mass that could be found on actual maps.

So I began work on Continent, set in a parallel world which I hoped would seem as real as anywhere on earth but absent from the atlases, meaning it at first to be the conventional, plotted novel Heinemann had paid me for. But I had never written anything much longer than five thousand words before and so casually, unthinkingly, I found myself producing a patchwork of linked, shorter pieces, stylistically reinforced more by my experience of journalism than my exposure to the short story structure. And it was easy. The stories tumbled out onto the page and truly felt as if they formed a patchwork of different colours but made out of the same material. All I had to do was add a spurious and entirely invented epigraph from the non-existent Pycletius to give the book a fake pedigree and I was set to -this was thirty years ago- put it in the post. When David next phoned, I could honestly report that Continent was on its way.

When Continent was published in 1986, I relished my copy of the finished hard-back; there’s nothing quite as sweet as squeaking into print. But as for sales? I was not expecting any sales. I hadn’t written Continent for sales or even in the hopes of much success. In truth, I’d written it because my Heinemann contract said I couldn’t keep their money if I didn’t. So I was grateful but unconvinced when the Irish-born British publisher, Geoffrey Mulligan, on acquiring paperback rights for Continent, claimed (correctly, given this Ecco Press edition) that it would still be in print in thirty years’ time. Looking back and comparing that first published book with the ten that would follow, however, I am bound to say that either I have learnt nothing in those intervening three decades or the voice I found by luck and chance for Continent has proven its longevity by hardly changing or evolving. I was a solemn moralist back then, relying on fabulism, metaphor and rhythmic prose instead of those more common conventions of contemporary English fiction - realism, irony and an idiomatic tone. And I remain the same today. But at the time, I thought I knew the world of books sufficiently to more accurately predict a lesser outcome than thirty years in print for what, after all, was the slimmest of volumes and one which could reasonably be dismissed as an assortment of stories pretending to be a novel, a worm behaving like a snake.

As it happened, I was fortunate. Continent was accepted generously as something more coherent than just a gathering of random pieces, more than the sum of its seven parts, exactly as I’d hoped. In one astounding week which endowed me with an enduring sense of optimism about the world of publishing, the book received three prizes, the Guardian Award, the David Higham Award and the Whitbread First Novel prize, and American rights were purchased by Harper & Row’s Ted Solotaroff for enough money to spring me free from what by then had become the prison of journalism.

The critics were divided, as they always are and always would be where my fiction was concerned, but at least I was heralded as strange and new (though not young exactly; I was already 40) and unEnglish; an oddity, in other words. Some commentators found it difficult -and many still do-  to distinguish between the playfulness of my novels and what they took to be their unembarrassed seriousness. I was especially satisfied to read in the Toronto Star,  that  Pycletius, my phantom epigraphist who had departed my imagination equipped with nothing more than his name,  was “the Greek historian and geographer” and (in The Times Literary Supplement) that his works were “arcane and irksomely septimal.”

Producing fiction was a lot more rewarding and stimulating than I expected, that’s for sure. It was a revelation, actually, and an unforeseen joy. My journalism had been an exercise in assembly and control. Fiction, though, required a looser and more thrilling grip. For Continent I’d had to cede control to narrative itself. But could I make a future out of it? Could I fool the critics once again? I was hesitant, both fearful of the risk and reluctant to slam the door for good on journalism. The most persuasive argument for moving on came one Sunday soon after Continent’s publication when I cycled down to the local greengrocers to buy the vegetables for lunch.  When my wife, Pam, unpacked the spinach, we both saw at once that it had been wrapped in one of my old articles. Neither of us spoke a word but had we been a superstitious couple, the sort that you will find in Continent, we might have seen it as a sign or, at the very least, a hint.

Jim Crace





Historical postings from the Andrew Hewitt web pages:


Jim Crace’s Books of the Year


It’s the season for making lists
of the best that 2013 had to offer.

Jim Crace chose the following Books of the Year
for the Guardian newspaper.


Spillover, David Quammen’s investigation of animal-to-human viruses (Vintage)
Falling Upwards, a history of ballooning by Richard Holmes (Harper Collins)
The Searchers (Bloomsbury), Glenn Frankel’s account of the 1836 abduction
by Comanches of Cynthia Ann Parker and its unending aftermath
Mark Cocker’s loving and magisterial
Birds and People (Jonathan Cape).


Meanwhile novelists Justin Cartwright
and Times chief fiction reviewer Peter Kemp
are among those who selected Jim Crace’s Harvest
as one of their own ‘best books’ of 2013.






Harvest shortlisted for Goldsmiths Prize

The Goldsmiths Prize is for “fiction at its most novel”
was set up in 2013 by Goldsmiths College
and the New Statesman magazine. The founders
wish to honour novels that share the
exuberant inventiveness and restlessness with conventions”
exhibited by classics such as Tristram Shandy.


Such novels, say the founders, are “often labeled ‘experimental,’
with the implication that their fiction is an eccentric deviation
from the novel’s natural concerns, structures and idioms”.
But “the novel’s history suggests that it is the most flexible and varied of genres,
and the prize will encourage and reward writers
who make best use of its many resources and possibilities.” 


Harvest is the only novel on the shortlist
of both the Man Booker and the Goldsmiths,
demonstrating that it has equal appeal as a story
and as a formally inventive work.


Read what Tim Parnell, chair of the Goldsmiths Prize Judges, says about Harvest.


The six novels nominated for the Goldsmiths Prize are:
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Harvest by Jim Crace

Exodus by Lars Iyer

A Girl is a Half-formed Thing by Eimear McBride

Red or Dead by David Peace

tapestry by Philip Terry

Artful by Ali Smith


The winner of the prize will be announced on 13 November.



Jim Crace on ‘The Prejudice of Intellectuals’
at How The Light Gets In


Jim Crace was in conversation with
LSE sociologist and ‘erotic capital’ theorist Catherine Hakim
and historian of ideas Hannah Dawson
at this year’s edition of the UK’s
most stimulating festival of music and philosophy.


Watch the video.
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Harvest has been shortlisted
for the Man Booker Prize


The six novels on the 2013 shortlist
for the Commonwealth’s most prestigious prize
for literary fiction have been announced.

They are:

Harvest, by Jim Crace

The Lowland, by Jhumpa Lahiri

The Luminaries, by Eleanor Catton

A Tale for the Time Being, by Ruth Ozeki

We Need New Names, by NoViolet Bulawayo

The Testament of Mary, by Colm Tóibín


Congratulations to all the authors whose books have been nominated.


Writing of the shortlist in The Guardian newspaper,
critic Sarah Churchwell described Harvest as
“probably the most explicitly about the ways
in which place shapes our identity”
and called it a story “redolent of the long 17th century”
but with a “timeless spirit”.


The winning book will be announced on 15 October.



To view pictures of Jim Crace
at June’s Festival of Chichester
see Dan Low’s
album on flickr.

Dan can be contacted via his website
Take Me to the Kittens.



Harvest longlisted for Man Booker Prize


The Booker, the UK’s most prestigious literary prize,
has three stages: a longlist of around a dozen titles;
a shortlist of six; and a winner, announced in October.


Jim Crace is currently the bookie’s favourite.


Congratulations to all the authors of shortlisted books:


Harvest, Jim Crace (Picador)

Five Star Billionaire, Tash Aw (Fourth Estate)

We Need New Names, NoViolet Bulawayo (Chatto & Windus)

The Luminaries, Eleanor Catton (Granta)

The Marrying of Chani Kaufman, Eve Harris (Sandstone Press)

The Kills, Richard House (Picador)

The Lowland, Jhumpa Lahiri (Bloomsbury)

Unexploded, Alison MacLeod (Hamish Hamilton)

TransAtlantic, Colum McCann (Bloomsbury)

Almost English, Charlotte Mendelson (Mantle)

A Tale for the Time Being, Ruth Ozeki (Canongate)

The Spinning Heart, Donal Ryan (Doubleday Ireland)

The Testament of Mary, Colm Tóibín (Viking)


Read a selection of reviews of Harvest







How the Light Gets In


Jim Crace will be taking part in two debates
at this year’s edition of the UK’s largest and most stimulating
festival of music and philosophy,
How the Light Gets In,
which runs from 23 May to 2 June
in Hay-on-Wye.


On Sunday 26 May at 10:30am, Julian Baggini chairs ‘The Prejudice of Intellectuals’.


We openly discriminate in favour of intelligence while denying or limiting the role of physical beauty.
Might this be a mistake? Should we accept the many different qualities of individuals and prize them equally,
or would this undermine our society and lead to ruin?

LSE Sociologist and Erotic Capital theorist Catherine Hakim and 
historian of ideas Hannah Dawson
join acclaimed novelist Jim Crace
to debate the values of the mind and the body.


On Sunday 26 May 2013 at 1:15pm, Angie Hobbs chairs ‘Live Fast, Die Young’.


Our culture is geared towards the avoidance of risk and danger in the pursuit of long life.
Is this an error? Should we seek new adventures by adopting a risk-taking, heroic attitude to life,
or would this be irresponsible and selfish?

Adventurer Paul Rose and sociologist Frank Furedi join Jim Crace to ask
whether it is better to live for a day as a lion than a lifetime as a mouse.


For more information about the festival arts programme:





Harvest, Jim Crace’s new novel,
was published 14 February, 2013



Read a selection of reviews...



Told over the course of seven dramatic days, Harvest evokes the tragedy of land pillaged and communities scattered,
as England’s fields are irrevocably enclosed. Already hailed as Jim Crace’s biggest novel since Being Dead,
Harvest transports us to a bewitching world in which the landscapes, people and myths of a vanished England live again.



“A powerfully resonating fable about the destruction of a village, the enclosure of England’s fields
and the lost rhythms of the natural world that is likely to garner prize nominations.” – The Guardian




“Everything new worth having
is paid for by the loss of something old worth keeping...”


Read an interview with Jim Crace
by Stephanie Cross
from the Independent on Sunday, 10 February 2013


'A writer of hallucinatory skill'
John Updike 


Please visit the Highlights page for archived material
January 2000-January 2013




Jim Crace’s 140-character novel

Jim Crace responds to The Guardian newspaper’s challenge
to write a story within the 140-character limit of Twitter.

Read it here.


Jim Crace on modern myths:

 a video from 2012’s How the Light Gets In festival


In a panel discussion hosted by Justin Mahboubian-Jones of the Institute of Art and Ideas

Jim Crace was joined by postmodern cultural theorist and writer Nicholas Royle
and science fiction author Justina Robson
to investigate the role of myths in our modern lives.


Please visit the IaI’s site to view the video of this stimulating encounter:





In a video talk published by the Harry Ransom Center at the
University of Texas at Austin
Jim Crace speaks about the creative process.

Please view this and other videos from Jim Crace’s 2012 residence
at the Ransom Center on the University of Texas website.


With thanks to the IaI and the Harry Ransom Center for making these links available.




“Does literature dwell with the living, or with the dead?”


Daniela Brockdorff, ‘Writing Death’


Jim Crace’s prize-winning novel Being Dead (1999) continues to attract criticism and research.
Daniela Brockdorff’s paper ‘Writing Death’ considers Crace’s novel and Graham Swift’s Last Orders
as two “provocatively poignant depictions of the interval between the instance of death and the laying to rest”.
Although both novels reject “spiritual fictions of the hereafter”,
both recognise that a “narrative needs be found to accompany a corpse to its final resting place”.
Are Crace and Swift extending the traditions of elegy to prose?
How can one write a comforting narrative “in the godless universe of Crace’s and Swift’s novels?”
Brockdorff finds that Crace’s novel “thrives on liminality” and considers whether this
“endows Being Dead, most particularly, with a potential for the sublime”.


To read Daniela Brockdorff’s paper ‘Writing Death’, click here.


Read the first chapter of
Jim Crace’s new novel
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“Two twists of smoke at a time of year
too warm for cottage fires surprise us at first light...”

Rural England is on the brink of change
in Jim Crace’s new novel of the Enclosures,
to be published by Picador in spring 2013.
Visitors to this web site can read the
first chapter here.  



Please see Note on copyright at the bottom of this contents page.
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This site is for information about the writer Jim Crace.

Much archived material, including interviews, uncollected short stories, excerpts from novels,
journalism and comment, can be found by following the link to
or using the section headings in the left-hand frame.



This web site was launched in January 2000.
To read archived material from this site click

 News and highlights to Jan 2013


This site also contains the following sections:

Chronology: a brief biographical and literary chronology.

Books: a discussion of Jim Crace's novels,
with extensive links and pointers to reviews and commentary about them.
This is the main section of the site. I invite ideas and contributions
from anyone with an interest in Crace's work.

Other writings: a list (and some e-texts) of other writing by Crace,
including his first published stories, plays, journalism, reviews and opinions.

Forthcoming: notes (where available) on forthcoming publications

Context: links and pointers to information and discussion about
themes present in Crace's work, including exclusive
interviews with Jim Crace.

Feedback: where you tell me about yourself and how to improve the site.

I would like to hear from anyone with ideas for content and links.
Please email me, Raf Candori



Last update: May 2017


Note on copyright:

Original material on this web site is © Andrew Hewitt 2000-2013
and is available for literary non-commercial uses only.
Repurposed material is copyright as shown.
Please feel free to contact me if you want to reproduce any material
from this web site, I will try and help arrange permission if you require it.