Many authors can go through their entire career without a single award or literary prize to their name which makes the recent success of Welsh author Alys Conran even more extraordinary. At the 2017 Literature Wales Book of the Year Awards earlier this month she swept the board with three prizes for her debut novel Pigeon. It’s a remarkable achievement considering she was in competition with Cynan Jones, an author of international standing, whose critically acclaimed fifth novel Cove was also shortlisted.

Pigeon was selected unanimously for the overall Book of the Year title because it lingered in their minds long after the judges had finished reading it said judging panel chairman Tyler Keevil. As a coming of age story littered with domestic violence, broken homes and mental illness it certainly has an emotional pull. Conran takes us on a journey through the memories of two children, Iola Williams and her closest (indeed her only) friend Pigeon, who live in a Welsh town surrounded by slate quarries. In the opening scene the pair chase an ice cream van and then debate at length their choice of flavour. It lulls us into thinking this is a tale filled with idyllic days of innocent fun but it doesn’t take long to find this is a novel that debunks all those myths about childhood.

Both children live in broken homes. Iola’s dad has disappeared, her mother and her beloved Nain (grandmother) are dead, leaving the girl in the care of her hippy elder sister. Pigeon, a sallow-faced skinny boy with shoulders as ‘delicate as egg shells’ lives in the garden shed of the crooked house he shared with his seamstress mother until he was ousted from his bedroom when stepfather Adrian and his daughter moved in. Pigeon is regularly beaten by this man (Pigeon refers to him only as as Him or H) and has to watch his mother lose all her spirit and independence through Adrian’s bullying.

To channel his energy and anger he plays truant from school, disrupts Sunday School meetings and makes up adventures and stories about bad people. Iola doesn’t fully believe in Pigeon’s fantasy world but she still goes along with his five-stage plan to prove Gwyn, the ice cream seller, is up to no good and may even be a murderer. The plan goes disastrously wrong; the first of two calamities that results in a forced separation of the friends and threatens to sever their relationship. As they emerge from childhood into early adulthood they have a chance to start afresh but only if one of them can lay to rest their feelings of guilt from the past.

The path to redemption for Pigeon comes through his encounters with Elfyn, a father figure under whose guiding hand Pigeon learns to build dry stone walls and rediscover a willingness to speak his native language. Throughout his life Pigeon has been fascinated by words, collecting them and savouring their novelty ‘with their strange textures: clay, metal, soap textures, and the strange tastes of the words as he says them into the cold air.’ Sent to a young offenders institution in England he has no choice but to learn English though this means he has to suppress part of his self.

But slowly Pigeon learnt that English was a weapon, and could be a shield. You needed it in pristine condition, and you needed the tricks of it, so you could defend yourself. Your own language was a part of your body, like a shoulder or a thigh, and when you were hurt there was no defence. When the kids argued in Welsh at home on the hill it was a bare knuckled fight. But English. With English what you had to do was build armour, and stand there behind your shield to shoot people down. Pigeon buried his own language deep.

Words and language are significant in more than one sense with Pigeon. This is the first novel to be simultaneously published in both English and Welsh. The text also blends both languages: the children’s Welsh dialogue is often rendered directly, without translation. Though this could be daunting for some readers, particularly when confronted by words that appear to have no vowels, it doesn’t spoil the experience of reading the novel because as this example shows, the context makes the meaning understandable.

‘Sut mae?’ says Gwyn shakily.

The sniffing quietens.

‘Be ydach chi’n ei wneud yma?’ His Welsh even more formal than usual. Asking the question, there’s a sinking feeling that he doesn’t want to know why they’re here after all.

Although Pigeon is the eponymous hero he doesn’t get to tell his own story. The narrative voice belongs principally to Iola , an intelligent and observant girl who relates their escapades and her own sense of loneliness with unflinching honesty. What we learn about Pigeon comes from Iola or a third person narrator, an approach that perfectly reflects the parallel Conran draws between this boy and the bird whose name he shares. Pigeons – as anyone who has read Bill Bryson’s Notes from a Small Island will know – are generally considered unintelligent and dull but Conran has her narrator remind us, they’re also capable of heroic feats, carrying messages long distance in times of war. As the boy Pigeon grows into manhood he too finds the courage to take control of his life.

Pigeon is a memorable novel with characters that tug at the heartstrings. It has a few flaws – the backstory of Gwyn’s Italian mother Mrs Gelataio (you can join me in groaning over that name) and her determination to find her son a wife for example  – jarred  with its over reliance on the comedy of her Anglo-Italian lingo and Conran overdid the theme of story-telling. But it’s still a very strong first novel and I’ll certainly be keeping a close eye on what she does next.

She does have another novel in the pipeline but she was keeping the details close to her chest when I caught up with her after the awards ceremony. All she would say is that it’s about a friendship and is set in a British seaside resort. “Not in Wales,” she emphasises. But after a few seconds, adds: “ That could change.”  No date is set yet for to completion and she won’t be drawn on that so we just have to hope it doesn’t take as long as the seven years of gestation with Pigeon. She doesn’t write with a plan in mind, preferring to let the work grow organically. Pigeon grew from a single image of children chasing the ice cream van.

“Working on the novel was a long journey but it taught me a lot about how to be an author,.” she reflected. She new she wanted it to be a hybrid book, not a pure coming -of-age tale, and one that was very much a book from Wales that blended English and Welsh languages. It was her publisher’s idea however to produce simultaneous translated versions. As a fluent Welsh speaker Alys Conran could have done the translation  herself but chose not to do. “I couldn’t have done a translation so effectively it would have even writing another book and I really didn’t want to write a second Pigeon.”

Invariably the question arises about the lack of prominence of writers from Wales on the world stage. “Look at the other writers in the shortlist for these awards, Cynan Jones and Jo Mazelis do have an international following” counters Alys. She does accept that there are challenges in getting the same level of attention for fiction from Wales as that enjoyed by Ireland and Scotland. “I’ve heard people make negative comments about books set in Wales, that they don’t have enough scope. But that seems very unfair – Steinbeck and Faulkner set their work firmly in one location yet we don’t hear comments about lack of scope so why should this apply to Wales?”

While her Welsh identity is important to Alys Conran, equally critical is that she doesn’t view it as a constraint. “Identity shouldn’t be a straight jacket and authors shouldn’t view it as if it stops them writing about broader issues.  I prefer to see it as a privileged point of view through which we can look at the world.”

Footnotes

About the book: Pigeon is published by Ceredigion-based publishers, Parthian.

About the author: Alys Conran was born in North Wales, studied literature at Edinburgh and then completed an MA in Creative Writing at Manchester. She is currently a lecturer in. Relative writing at the University of Wales in Bangor. Her fiction, poetry, and translations have been placed in several competitions, including The Bristol Short Story Prize and The Manchester Fiction Prize. At the 2017 Literature Wales Awards she topped the public vote for the Wales Arts Review People’s Choice Award and then went on to pick up the Rhys Davies Trust Fiction Award and the overall Book of the Year award for her debut novel Pigeon.