• Lawrence Sail
  • Giles St Aubyn LVO
  • William St Clair FBA
  • Norman St John-Stevas (Lord St John of Fawsley)
  • Fiona Sampson
  • J.J. Scarisbrick
  • Ann Schlee
  • Michael Schmidt
  • The Rev Professor M.A. Screech FBA
  • Roger Scruton FBA
  • Peter Scupham
  • Simon Sebag-Montefiore
  • Elisa Segrave
  • Richard Sennett
  • Vikram Seth CBE
  • Miranda Seymour
  • Sir Peter Shaffer CBE
  • Nicholas Shakespeare
  • Jo Shapcott
  • Norman Sherry
  • Alan Sillitoe
  • Posy Simmonds MBE
  • Helen Simpson
  • Andrew Sinclair
  • Clive Sinclair
  • Iain Sinclair
  • Robert Skidelsky (Lord Skidelsky of Tilton FRHistS)
  • Ali Smith
  • Godfrey Smith
  • Lacey Baldwin Smith FRHistS
  • Zadie Smith
  • Mary Soames (Lady Soames DBE)
  • Ahdaf Soueif
  • Frances Spalding CBE
  • Francis Spufford
  • Hilary Spurling CBE
  • John Spurling
  • Tom Stacey
  • Jon Stallworthy FBA
  • Martin Stannard
  • C.K. Stead ONZ CBE
  • George Steiner FBA
  • Rory Stewart
  • Stanley Stewart
  • Sir Tom Stoppard OM CBE C Lit
  • Sir Roy Strong FSA
  • Kate Summerscale
  • Virginia Surtees
  • John Sutherland
  • Graham Swift
  • George Szirtes

Amit Chaudhuri – Year of election 2009

Amit Chaudhuri

Amit Chaudhuri’s first novel, A Strange and Sublime Address, published in 1991, won a Betty Trask Award and a Commonwealth Writers Prize. His second, Afternoon Raag, won the Encore Award, and his fifth, The Immortals, appeared in March this year. He is also a musician – a singer in the Hindustani classical tradition who four years ago established This Is Not Fusion, a project in experimental music combining jazz, blues and rock with the Indian raga. He is Professor of Contemporary Literature at the University of East Anglia and was the first Indian to serve as a judge on the Man Booker International Prize.

“My first ambition,” he says, “was to be a poet, and not a novelist. But that it was the glamour of the commonplace and the music of the sentence itself that were important to me – more important than character, psychology, resolution, or narrative – came to me only during my miserable years as an undergraduate in London in the early Eighties. These seemingly Manichean dichotomies continue to govern my life in ways I couldn’t have foreseen: poetry and prose; music and language; criticism and the ‘creative’ – so that hiding, or escaping, from one part of myself is also a release into, and annexation of, another part. Eliot’s ‘escape from the personality’ was never wholly necessary or possible; since the personality itself turned out be such an unexpected labyrinth.”