A Contest Reconfigures After Receiving No Entries

When the New Yorker's Book Bench blog reported last month on the H. G. Wells Short Story Contest, the Britain-based competition hadn't received a single entry. At least not for the one-thousand-pound main prize (about fifteen hundred dollars) open to writers twenty-five and younger—a second competition offering a quarter of that amount had received a number of submissions.

Book Bench blogger Eileen Reynolds illuminated a few reasons why young writers' story flow could have been so low—quirky rules that required entries to be handwritten ("because that is considered an important aspect of literacy") and asked writers to avoid employing elements of Wellsian science fiction, focusing rather on an alternative topic, "what life is like for ordinary people, working or retired." Or it could have been that potential entrants were simply unaware of the contest.

Whatever the reason, there are a few more days for writers in Britain and beyond to submit (anyone is eligible, per the entry form, though the target is university and secondary school students from Kent)—the deadline has been extended to August 15. Prize administrator Reg Turnill also opened the competition to science fiction and will accept typed entries, though, according to Kent News, handwritten entries will be given "extra marks."

The prizes will be awarded at the second annual H. G. Wells Festival in Folkestone, on the coast of Kent, taking place in September. The late author's great grandson, Dominic Wells, will present the awards.

A preview for one film adaptation of Wells's 1895 novella, The Time Machine, a work that "stimulated the imagination of mankind" and feature elements of both nineteenth-century ordinary life and the futuristic fantastical, is below.

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"Times will change," says Meskis, "and we do need to face the challenges that are before us and still maintain our care and our community service to the people who are so important to us—the writes and the readers."

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"The Tattered Cover offers a wide variety of ideas presented in the form of author events—over five hundred each year—including the very literary, thought provoking, humorous, topical, educational, controversial, and political, to name just a few," Meskis says. "All of this said, first and foremost, the author’s work has to have an audience motivated to come to hear the author speak. We can provide the venue, the publisher can provide a few dollars to advertise the event, but in the end it’s the author who is the draw."

 

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"Every signing—every one—is different," says Meskis. "To me, there are no two that are exactly the same. You can make all the predictions you want. There are some elements, of course, that are common to any signing. But when it comes to a particular reader meeting a particular writer, a particular connection is made and there’s nothing like it that has ever existed before. It cements the building blocks of the whole experience of reading and publishing and writing. It’s just wonderful."

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"When I’m walking through the sales floor," says Meskis, "and a little kid goes up to the shelf and spots a book and says, “Oh, wow! You’ve got that book!” To know you’ve played some small role in making that happen—there’s nothing like it. I’ve been in this business a long time and I still get chills down my back when things like this occur."

 

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"I can’t speak for every bookseller in the world, obviously," Meskis says. "But wouldn’t you say it’s true that every bookseller sort of has this dream of the bookstore in the sky—what it could be, how you would want to have so much of what you loved and what your customers appreciated, and then also have the opportunity to pique their interest in different areas without betting the ranch?"

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Owner Joyce Meskis radiates a type of calm that seems unflappable by the challenges of daily life. Yet in conversation she is the first to poke fun at herself and the many obstacles she has faced in her thirty-six years as a bookseller—not just in terms of running a business, but also advocating for First Amendment rights and helping to nurture the social and literary communities of Denver.

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The guiding aesthetic is a wonderful mix of the old (worn hardwood floors downstairs, exposed rafters and hand-hewn support beams) and the new (forest green carpet upstairs, a selection of organic and local options at the café). The place feels vital. It feels vigorous.

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From the moment you walk in, you feel a sense of ease and peacefulness. There are overstuffed chairs and couches throughout both floors, as well as spacious tables in the café area.

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