to itsn erur— ilhrnf u’f and be able to challenge itself. if you have different wings of a party, at least if you are discussing an issue i want to hear from the left—wing side of the conservative party but they have to say on an issue versus right—wing and be able to debate within a party. if momentum is going to take over... lets end on a cheerful note. if the royal wedding upcoming. lets end on a cheerful note. if the royalwedding upcoming. everything we just said was the minor stories, this is the bulk of the news! the mail on sunday says it has meghan's unseen family photo album. we cheerful about this? this is the greatest economic side ever seen. meghan's wedding president will boost the uk economy by £500 million. it's a lovely feel good story. i find this funny,

million. it's a lovely feel good story. ifind this funny, think million. it's a lovely feel good story. i find this funny, think of the number and put a couple of zeros on the end and that's how much better we are feeling. this is something that is going to run and run but when you look at the stories across the rest of the pages... the americans will come over for that. the hotels are already booked up in windsor! laughter thank you both. that's it for the papers this hour. thank you dharshini and charlie, you'll both be back at 11.30 for another look at the stories making the news tomorrow. coming up next — meet the author. fiona mozley‘s elmet is a story that you might describe as contemporary gothic, raw and dark and lyrical with a rich bit of melodrama. a debut novel powerful enough to take it to the man booker shortlist in the autumn, told by a iii—year—old, it sets the here and now against a brutal and more elemental past, and explores a complex and ambiguous relationship

between three members of a family who are all, in their own ways, different. welcome. it's interesting that in trying to write about the contemporary world, trying to say something about the contemporary world, you were drawn to a wild past, a man who lives on land that he doesn't own, in a house that was built with his own hands. how did you come to feel that that was the best avenue to write about the here and now? i think contrast is always a good tool when trying to talk about something very specific, and i did want to address the issues of today.

i think those are brought into relief by considering the history of the place, and old ways of living, different ways of living, and i wanted to place those things together and see what happened. to suggest although we think we are more civilised than people were many years ago, that is not necessarily true? modes of morality change, sometimes for the better and sometimes for the worse, and i wanted to examine that. i also wanted to suggest that the boundaries of landscape have not always been the same. borders change. they are mutable. by giving the novel a older feel, i wanted to suggest that not only have things been different in the past, but they can be in the future. the question of ownership of land and property, it produces a very dramatic, even melodramatic, ending which we won't describe in detail

and spoil it for those who haven't read the book, but let's talk about the plot. it's told by daniel, who's 14, and it is a story that revolves around his slightly older sister and their father. it is a very tight conception. the stage is not very crowded. i wanted to include these three characters, and they are all serving a different purpose, and are very different in temperament and very different physically. i wanted to explore the relationship between temperament and body, and they are all trying to look at each other and think, how do you work, i can't understand it because i'm so very different from you. the father is a very heathcliff type of figure. slightly unfair, but you know what i mean, there is a strength and fearsome strength about him. the way he feels he can mould

the world to his purpose physically. yes. he's a masculine archetype, exaggerated and deliberately exaggerated, and there is much about this book which is deliberately exaggerated. he embodies everything which is positive and negative about masculinity. what about cathy, the daughter, she rolls her own cigarettes all the time. she does indeed. her issue is that she takes after her father in many respects, but not physically, she can never match his strength. she is constantly being underestimated by those around her. daniel is stuck with telling the story, which he does very touchingly and lyrically. the way you have described it justifies the phrase which i used a moment ago, that it is a gothic novel in many ways.

it uses extremes, almost as if it is lit in bright colours and darkness. i do see this as a genre piece, i was influenced by the narrative arc of westerns, i was influenced by the setting of yorkshire, and because this plays with the genre there are moments which are familiar in their extremity and melodrama. there's a lot of touching the landscape involved in this. elmet is a place to this day, but was it the last celtic kingdom? that's right. in around the seventh and eighth century, it was the last kingdom that kept... in england, that is, that kept its celtic heritage, and that was a term which is problematic in many respects, but there is something separate and distinct about it. ted hughes has written about this. ted hughes came from that soil

and he did write about this, did that influence you? yes and no. i read his poems as i was drawing to the end of the project. but i think that they did influence it in some respects. the passion that he instils in the relationship between people and their surroundings, physical surroundings, is one of his great characteristics, and that is clearly what you are trying to get to here, there's a great deal of lyricism in the course of a story which is sometimes quite dark and spare and even brutal, and the plot, but you imbue this with a lyrical top. i was aware there were so much darkness in it, so much which was unpleasant, and i really wanted to counterbalance it

with some lightness. i wanted the description of the place and the family relationships to have a warmth, and in terms of the landscapes so much about physicality, and i wanted it to be a landscape that you could reach out and touch, something that appealed to all the human senses. without going into the details of the climax of the book, there is a sense with which there is a victory of sorts, but nevertheless the book has a feeling of something that has been lost. there is a sense of loss. so much of the book is about a lost world, people trying to recover that lost world. you are still in your 20s. just about. so, this is a book that to some degree must be seen as one that speaks of your generation. do you think the sensibility you are bringing to this is one which is quite common? that there is a feeling as people of your age look forward, that it is inescapable that

something has gone? i think so. certainly in terms of forging a home and finding a place to live, that is one of the greatest challenges. which is at the centre of the story. it is a book set in yorkshire but i started writing it in london, so it has a double identity. first novel, you end up on the man booker shortlist, alongside the winning book and authors like paul auster, extraordinary. yes, it is. the enormity of it only hit me at the ceremony, because part of me had been trying to shut it down, and just take it one step at a time. but when i got to the ceremony and all those people around me, that is when it dawned on me, that my life had changed. to put it crudely, it must be encouraging, you want to write. you are doing a phd part—time

at the university of york. fundamentally you want to write fiction, and that is not a bad way to start. yes, it is a pretty good way to start, and one other thing the shortlisting has done for me is allowed me to be more daring in the future. there is an issue with who gets to write, the sort of fiction that different people get to write and feel entitled to write, and this shortlisting allows me to be brave in the future, i hope. fiona mozley, author of elmet, thank you very much. thank you. good evening. it's been gradually turning a little milder in the past 2a hours, or slightly less cold. but there has been a lot of cloud with that change, although that said we've had a lovely sunset this evening in kent. sunday promises more sunshine for many of us. currently you can see these weather fronts draped across the country, sinking southwards.

it's giving some rather grey and murky conditions. if you're out and about travelling, there will continue to be some light rain and drizzle around. the cloud is low enough to sit on the hills, so it will be foggy. later in the night, we'll start to see things clearing up across scotland. we could get a touch of frost in the glens in the north—east, and early on in the south—east. but for most of us, after what has been a chilly week, it looks largely frost—free. however, it probably will be quite a murky start to the day, especially across the southern half of the country. this weak weather front is going to move up the way fairly quickly. it lingers for parts of pembrokeshire and south—west of england. but for most of england and wales, it will be brighter and drier, not so cold to start with either. temperatures starting at about 4—5 degrees in some places. for northern ireland, that weather front is close by. scotland too, a lovely start to the day. there might be a few shallow fog patches here and in the south—east of england, but they should clear fairly quickly.

our weather front topples back into western scotland later on, but that allows a little sunshine to come through for northern ireland. you can see that weather front close by to pembrokeshire and the south—west of england. for most of us, it's a bright afternoon with some good spells of sunshine. probably a little chillier today in the north—east because we are back into slightly cooler air, but milder than today for east anglia and the south of england in particular. as we go through sunday evening and overnight we've got these weak weather fronts still with us. more cloud comes in. what we will find is probably a bit of fog as we go through to monday morning rush—hour, particularly in east anglia and the south—east. further west, we keep a pestering of showers, but a lot of dry and settled weather will greet many of us on monday, and slightly milder weather than we had in the weekjust gone. that's because we've got high pressure, benign conditions sitting over the uk. most of the weather fronts are being pushed to the north and the west of our shores, and we have to wait until midweek until we see something a little bit more turbulent. and that's wednesday, it looks set to turn wetter and windier by that stage. but a quiet start to the week for many of us.

bye— bye. this is bbc news. the headlines at 11:00 — the government's social mobility tsar, alan milburn, and his team resign — warning that the prime minister is failing to build a "fairer britain". a new tweet from president trump raises more questions tonight about the sacking of his former national security advisor. criticism grows of two former policemen who claimed legal pornographic images were found on a computer used by the cabinet minister damian green. the vast majority of police officers, the vast majority of chiefs of police absolutely realise it's very, very important that policing in our country stays out of party politics. the youngest patient on the transplant waiting list receives a new heart atjust eight weeks old. england's first rugby league world cup final since 1995 ends in a disappointing defeat to australia.