Tag: New writing

Past Writers Interviews, Writer Interview, Writers Chat

Writers Chat 4: Nuala O’Connor on “Miss Emily” (Penguin: USA and Canada, 2015) and PREVIEW chat about “Becoming Belle” (Forthcoming from Penguin)

The fourth post in my “Writers Chat” series is mix of old and new chats: a re-post of a chat with Nuala O’Connor from August 2015 on her third novel Miss Emily and a new preview chat about Becoming Belle which Sebastian Barry has declared to be “luminous”. Becoming Belle will be published in August 2018. 

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What a beautiful cover, Nuala. So tell me about this stage in the publishing process – after the writing, editing, and proofs… and before the publication date (August 2018).

NUALA: This is the easy part because all the difficult work is done. Now it’s time for gentle pre-publicity (sending out advance copies to key people: journalists and literary types of all hue) before the real PR push starts. I’m taking a week out in May to write articles, essays etc. about the book for promo purposes; I’m hoping by devoting a week to it, that I’ll get a lot done. It’s a time consuming business. I won’t be able to write much on my novel-in-progress during the promotional months for Becoming Belle. That’s maybe the only downside as the act of writing keeps me balanced in myself. And sane…

SG: The story of Belle sounds utterly fascinating. Tell us how you came to write about her and her links to Ballinasloe.

NUALA: Like a lot of things, I tried her out first in a poem (a pretty crappy vilanelle). Then I wrote a flash about her. When I keep returning to a subject, it’s begging for more. I moved to Ballinasloe 13 years ago and researched the history of the town and soon came across this music hall girl who had married the local Viscount amid some scandal. She was a beauty and much loved in Ballinasloe; I was interested in knowing more about this maverick English woman who ended up in rural Ireland as the Countess Clancarty, despite being a dancer and not being from gentry.

SG: When can we get our hands on Becoming Belle? 

NUALA:  It is published here, there and all over in August 2018. I really can’t wait for people to read about Belle – she is feminist, feisty and fresh. I gave my parents an advance copy of the book and my Da said he ‘fell in love’ with Belle. What better review could you get?

Wow, that is surely the best review any writer could get – that your reader falls in love with your heroine. I can’t wait to read it in August 2018!

 

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Q&A (originally published in August 2015) with Nuala about Miss Emily 

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I start this blog post with a confession. I have always considered my tastes to reside in the modern. Miss Emily, set in the late nineteenth century however, is written in O’Connor’s beautiful lyrical prose with feminist leanings. The novel not only brings us into the world of the reclusive poet Emily Dickinson, but also Ada Concannon, a feisty Dubliner who follows in the footsteps of her aunt and uncle in the hope of better prospects in Amherst, Massachusetts.

I raise my hands, humbly, and declare that I was hooked from the first page with the complex characters of Emily and Ada, the lush imagery and bountiful senses, and a story that, from the start, gets you asking questions, and reading on. As a fan of Dickinson’s poetry, Miss Emily gave me a unique glimpse into her sense of self as a writer. Many of Emily’s sections are poetic in themselves, beautiful prose. Consider these musings, for example:

“I write by night now, when nothing thrums but my lamp…The house sleeps; Amherst sleeps. Only I endure. And when my pencil tires of flicking word arrows onto the page, there is the moon to admire, full-faced and lovely, a bright coin…”

Miss Emily, however, could also be enjoyed and relished by readers not familiar with – or even interested in – Dickinson as a writer. Here’s quite an accomplishment: O’Connor manages to hook you into this well-paced story while also providing convincing and fascinating glimpses into the life – imagined – of such a known poet.

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Thank you, Nuala, for a wonderful read – on a northern Spanish beach (as per above photo!). I’m delighted to be part of Miss Emily Blog Tour!

There is a wonderful sense of place in Miss Emily from the Dublin Liffey and life as a maid downstairs to the workings of the kitchen, the stables, and herb garden in the Dickinson household in Amherst.

“The goddess Pomona has been around the orchard scattering her goodness: everything is floral and abundant, while the apple maggots and cabbage worm do their best to undo it all.”

The sense of place – and the atmosphere throughout the novel – seems to me to be as connected to the characters – Ada and Miss Emily – as it is to their respective countries – Ireland and America. In some way, Ada echoes Emily’s attachment to the indoors, how rushes of homesickness hit her at times. It strikes me that Miss Emily is not just about Emily Dickinson.

NUALA: Ada, the young maid, is the active character in the story, given Emily’s reclusiveness, which is beginning to be her preferred state by 1866, when the novel is set. The novel is about cross-generational friendship, the maid-mistress relationship, emigration and loyalty. It’s also about what it means to be a female maverick in the nineteenth century and what the consequences of that can be. And, yes, it’s about place – setting is important to me in fiction. For my own sake I need to inhabit the places I write about and really feel the setting loom large around me. The research for that – flora, fauna, architecture – is part of the thrill of writing for me.

I was enthralled by the day-to-day detail of living, and working – of course reflected in the beautiful covers of the US and UK editions, and in the novel from the instructional gift Ada receives from Mrs Dickinson (The Frugal Housewife by Mrs Child) and all the advice it gives, to the vision of Emily Dickinson lowering a basket full of delicious gingerbread for the children. Did you have fun researching and playing around with historical details such as these?

 NUALA: The research was a joy. I research as I write, mostly, and unearthing new and interesting details about domestic life in the nineteenth century was always a pleasure. I baked Emily’s recipes, I bought myself an old glass churn and made butter, I (squeamishly) watched YouTube videos on how to skin hares. I studied The Frugal Housewife and made it, as Mrs Dickinson suggested, Ada’s second Bible. I read close on thirty books by or about Emily in the course of the research – about her relationships, her poetry, her life in general. I wanted to get things right, to be loyal to her; I fell deeply for her warmth and wit while writing the book.

That joy really comes through in the novel, Nuala. Now tell me about the baking. I just adored the scenes with Emily and Ada in the kitchen, the dynamics between them and how each of their personalities seem to shine, and their friendship bloom, as they bake.

“I take dried pears from their jar; they were as pink as plums when picked, with crinoline hips and the flesh of candies. Now they curl – silenced yellow tongues – in my hand. I glance at Ada, and she is smiling roundly, forgetting now her Daniel and his saving of her from the lion. She uses her hands to mix together raisins and citron rind; the smell is glorious.”

In fact, I wished there were recipes at the back of the book – perhaps there will be on your website? 

NUALA: I love to cook and bake, and that was what drew me back to Emily later in life, having studied her poetry at school. Some of the articles I have written, for Reader’s Digest in Canada for example, featured recipes, as does the Penguin Book Club Guide to the book. Some of Emily’s recipes (tweaked by me) can also be found at my cooking blog, The Hungry Veggie Her Coconut Cake is a sweet, buttery, easy cake – I make it all the time now for visitors. My cousin Clodagh and I are going to bake some of Emily’s cakes for the launch (details below).

How wonderful – I’ll try those recipes out and look forward to samples at your launch! I relished the way the themes of gender and equality are peppered through the book, and with Ada as our perceptive observer, some of the expectations of women can be seen – tenderly – in the relationship between Emily and Susan, her sister-in-law, and how, through her poetry and solitude, Emily manages to escape some of these expectations.

“I simply do not feel comfortable in a throng; my head gets addled, and I long for peace. And Sue may not comprehend either the writer’s absolute need for quiet and retreat, the solace of it…I put my lips to her cheek and tell the curl of ear, ‘I prefer to have you alone. That way you are all mine.’”

NUALA: Women were expected to marry in nineteenth century Amherst, so Emily and her sister Vinnie were an unusual pair of spinsters. But they were well-to-do – their father was a lawyer and when he died their lawyer brother looked after them. So, in a sense, they had the luxury of being rebels. The Dickinson family were eccentric, they were clever and good leaders, important in the town, but they did things in their own way. Emily loved her sister-in-law Sue fervently – Sue was editor, friend and confidante to her.

I really enjoyed the way their relationship developed so tenderly over the course of the book. Yet there are also strong, and complex, male characters in Miss Emily: Emily’s brother Austin is an interesting character who, I can say, without revealing the plot, grows and changes through the novel; Patrick seems to be the antithesis to Daniel yet both are believable characters who provide yet another kind of insight into the Dickinsons, and, interestingly, reveal certain views of the Irish and class.

NUALA: I made Austin Dickinson quite anti-Irish in the novel – he may not have been as racist as I portrayed him. Ada and Emily are both such sweet, decent creatures, I needed the contrast of the fiery Austin, blowing in and out with his mad red hair, negative opinions and grumpy face. He and Emily were very close as children but once he became a responsible citizen and husband, Austin became more serious.

Patrick and Daniel are two sides of the Irish emigrant: the drunken layabout and the hard-working, go-ahead type.

And a question more than a comment, will we discover, in the future, what became of Ada and Daniel?

NUALA: I was asked this question a lot on my American book tour – I think it’s a good sign because it means people like the characters, and care enough about them, to hope for a good future for them. I have no plans to return to Ada and Daniel but I feel that life went well for them in the end: deep love, happiness – the whole shebang!

Sounds great! Nuala, I’d love to hear you read from Miss Emily. I know you have already given some readings (for example at the West Cork Literary Festival), where might we next find you with Miss Emily in hand?

NUALA: I will read a little from the book at my launch in The Gutter Book Shop, Dublin, Friday 28th August, 6.30pm. (All welcome!)

Other confirmed appearances:

  • Thursday 3rd September: Shorelines Arts Festival, Portumna, Co. Galway
  • Saturday 19th September: Spirit of Folk Festival, Co. Meath
  • Sunday 18th October: Kildare Reader’s Festival, Riverside Arts Centre, Newbridge, Co. Kildare
  • Thursday 29th October: Blackbird Books, Navan, Co. Meath
  • Wednesday 25th November: Crescent Arts Centre, Belfast

I’ll be there on Friday 28th! And of course, we can keep up to date with your blog and website. Thanks again, Nuala, and I wish you continued and further success with the wonderful Miss Emily.

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THE DRAW FOR A SIGNED COPY OF MISS EMILY TOOK PLACE ON AUGUST 28th ….and the winner was Shirley McClure.

 

Writer Interview

Writers Chat 1: Brian Kirk on “After The Fall” (Salmon Poetry: Galway, 2017)

As the first to feature in my “Writers Chat” Series, I’m delighted to welcome Brian Kirk to my blog. We chat about his debut poetry collection After The Fall (Salmon, November 2017).

Be in with a chance to win a signed copy of After The Fall! Simply comment on this blog post and your name will be entered into the draw on January 20th.

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I’m always interested in process. Having published a novel The Rising Son in 2015 and a poetry collection which you say was ten years in the making, in 2017, have you found any similarities, if I may suggest, between constructing a collection of poetry and structuring a novel?

I think of the two things, writing poems and writing novels/stories, as two very different disciplines. Generally as a writer I am very structured about how I shape stories and poems, but how the poems work together is very different to how the extended narrative of a novel works. Having said that, I’ve always been able to move between the two over the years. I’m lucky that I can revert to poetry when the novel isn’t going well and vice versa. The sustained effort of editing and finishing a novel can be very demanding, however. With The Rising Son I had a very clear picture in my mind of the characters and the structure of the novel from the start and wrote the first draft in six months or so. During that time, back in 2013, the poetry was on the back burner for a while. Ten years seems like a long time to take to produce a collection but in the context of other works being undertaken during that period – stories, novels, plays – perhaps not that long.

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That’s interesting to hear that you can switch between the two. I do the same with short and long fiction. Sticking to form and process for a moment, if you don’t mind, many of the poems in After The Fall tell a story, or stories, and I note from the extensive array of publications and awards on your blog, the short story is another form in which you excel.

The poems I am thinking of here are ones such as “Two Foxes”, “Chameleon”, and “Persephone”. Is there any particular way you find the form when you have the story in your head? In other words, have there been occasions when something begins life as a poem and morphs into a story or the other way around?

I do have a love of narrative in poetry, although there are more imagistic poems in the collection also. The poems you mention and others run on narrative lines, and very often the narrative is lifted from life, mainly from memory. The poet, George Szirtes, talks about poetry being an amalgam of memory and imagination and a lot of the poems in After The Fall reflect that. It has happened on occasion that I’ve had an idea for a story and it ends up being a poem or vice versa, but in the main poems come as poems and stories as stories. I use quite a bit of formal structuring in the collection and have always found it helps me when writing poems to have that structure in place at the outset even if it doesn’t always remain there in the end. Formal structure doesn’t always pay off, but when it does the demands of the form can add so much more to the poem I think.

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Fascinating that the poems arrive as poems and stories as stories. I found, in both dipping into the collection, and reading it right through, a real sense of identity forming, and a need to look back in order to look forward – in, for example, “The Flowering of Age”, “To Youth” and “When We Were Small”. How does this theme relate to both the title of the collection, and the title poem “After The Fall” where we’re reminded that we have both “lack and appetite”?

The main themes I suppose are around family and relationships, with love, religion and politics in the mix also. When I was writing and sending out poems at first I was simply writing individual poems without much thought of overall themes. But a few years back when I started to think in terms of a collection I was able to discern a strain of recurring concerns in some of the poems. The title of the collection appears in three of the poems and has obvious biblical connotations as well as a nod towards the season. In terms of the religious reference to the creation story in the Judeo-Christian tradition, I like to think of The Fall as not just being a negative thing, but having a positive aspect also; the original transgressive act that opens up the world of the senses to mankind. I also see the bible as a trove of poetical language and images and probably my first introduction to the notion of poetry. Blake’s Songs of Innocence and of Experience are a source of inspiration also. The poems you refer to above hanker after youth but also find some satisfactions in age.

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I particularly enjoyed the snapshots of generations in the collection. I found myself nodding at my own memories reading “Ouija”, smiling at the picture painted in “Young People”, and again nodding at the familiar feelings you portray in “In My Day”.

Particularly the last line where the narrator is “not old enough to make free with the future/the way I have with the past.” You had me thinking of the timelessness of being – despite the specifics of growing up in a particular era.

It’s funny but when I was reading the proofs of the collection and getting ready for publication I began to see more threads in the collection than I had identified previously. One of these is the theme of ageing – which I shouldn’t be surprised by really – but which took me by surprise a little. There is a sense that we are all on a journey regardless of age. Many of the poems consider my parents and their generation but also my children’s generation and their concerns. There is definitely a sense of continuity – collective and individual memory playing out.

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Many of your poems look at what it means to be human – that it is both a curse and gift. In “Repetition”, there is both “nothing in this world as beautiful as repetition” and also “nothing in this world as terrible as repetition”.

Yet what holds everything together, a sort of binding, if you will, are the simple illustrations of love. Poems such as the Forward-Prize nominated “Orienteering”, “Birthday” and “A Memory” although different in their contexts, really moved me. Was this a theme that emerged through choosing the poems for the collection or was it more of a conscious choice?

One of the earliest recurring themes that emerged when I was compiling the collection was that of map making. I was very much taken with Eavan Boland’s poem That the Science of Cartography is Limited, which knits the individual specific experience so well into the public, political and historical. Poems like Orienteering, Home, The Man, The Boy And The Map, and A Map reflect failed attempts to site specific experience in exact physical locations. It’s hard to know where this desire springs from, but as a kid I always enjoyed looking at maps and reading books that had maps on the inside pages to help guide the reader. The broader theme of the imperfection and beauty of life, encapsulated in the idea of The Fall, swallowed up that lesser theme along the way. I love the image of love being the glue that holds all these disparate elements together!

And of course maps makes us think of the maps on our hands – our palms to be specific – and that push/pull between fate and destiny. 

Brian Kirk Author Photo colBrian Kirk

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Lastly, Brian, a few fun questions:

  • What are your five most loved books of 2017?

It’s hard to limit it to five. Of novels I read during the year the best were Jon McGregor’s Reservoir 13, Robert Seethaler’s A Whole Life (which reminded me a lot of the late Denis Johnson’s excellent Train Dreams), Carol Shield’s The Stone Diaries and Hans Fallada’s Little Man, What Now? In short stories June Caldwell’s Little Room Darker, and I read some great work in Issues 7 and 8 of the Lonely Crowd which is an excellent journal and also I have to include an ambitiously superb story by Kevin O’Rourke Romance and Revolution in Long Story Short Literary Journal. In poems there were excellent first collections by Annemarie Ní Churreáin (Bloodroot) and Amanda Bell (First the Feathers). I’m currently reading Maeve O’Sullivan’s collection of poetry, haiku and haibun Elsewhere and enjoying its breadth tremendously.

  • Oh yes. Ní Churreáin’s collection and Caldwell’s stories are on my to read pile, and I loved those novels by McGregor, Shield, and Seethaler. Some wonderful recommendations, there. So what will you read in 2018?

I received a copy of John Banville’s Mrs Osmond for my birthday in December and am planning to read The Portrait of a Lady before diving into it. After that I will read another Hans Fallada, probably Alone in Berlin (I’ve been reading his work over the last few years and really enjoying it). In terms of stories I’m looking forward to Valerie Sirr’s collection coming out during the year. In poetry Maurice Devitt’s first collection is one I can’t wait to read and also a new and very interesting collection from John Murphy which should turn a lot of heads.

  • Would you believe it, I’ve just started that very book by Fallada! I’m also  looking forward to Valerie Sirr’s story collection; I love her work. And I’ll watch out for the poetry collections by Devitt and Murphy. So, Brian, to end our chat, what’s next for you in the writing world – Poetry? Stories? Plays? Novels?

I will continue to write poems and hopefully bring After The Fall to more readers around the country, but my main writing focus will be on compiling a collection of short stories and hopefully finding a publisher. I already have new stories forthcoming in 2018 at online journals Fictive Dream and Cold Coffee Stand. I have a novel in progress also which I hope to complete a first draft of very soon. My full length stage play Story was shortlisted at Listowel last year and I would really love to see a staging this year or even a rehearsed reading. So plenty to be getting on with!

Thanks for inviting me to chat, Shauna.

You’re welcome, Brian and thanks for engaging so thoroughly with my questions. I wish you every success with your writing and look forward to reading more of your work, and perhaps even seeing Story on stage.

Readers – be in with a chance to win a signed copy of After The Fall! Simply comment on the blog and your name will be entered into the draw on January 20th.

 

And the winner is….IMAG0069

Congratulations, Karen. Brian will be in touch with you to arrange delivery of After The Fall. 

Writing News

New Writing and a New Year

Welcome, dear readers, to my new look website and blog! I am delighted to bring you more chats with writers from around the world and news of my writing from 2018 and beyond.

If you were to buy one book this year, why not spend your €20 on Reading The Future edited by Alan Hayes (Arlen House) and published to celebrate 250 years of Hodges Figgis in Ireland. Hodges Figgis is Ireland’s oldest bookshop. IMAG0038

I am delighted that an extract from my new novel set in Northern Spain in the 1930s “When The October Wind Comes” has been included in the anthology. I am one of 250 writers featured and what a wonderful publication of over 700 pages of writing….

Look out for notices of launches and readings throughout 2018.

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