“I ALWAYS WANTED TO BE AN AUTHOR”

“I ALWAYS WANTED TO BE AN AUTHOR”

Jane Urquhart is a Canadian writer of Irish descent. She was long‑listed for the Booker Prize 2001 for her novel “The Stone Carvers”. She has also written “The Underpainter” which got many reputable prizes and wide critical acclaim. She has been on a visit to Bulgaria on the occasion of the translation of her two major novels. She was interviewed for “Spot On” by Ksenia Kisselincheva, PhD.

KK: Are you more interested in exploring the past rather than the present world you live in?

JU: Definitely, I am more fascinated with exploring the relation of the present to the past, trying to put the past into some perspective. My latest novel deals with an artist’s coming to terms with a tragic fact of Canadian history. Walter Alward has been commissioned with the conception of a grand memorial, dedicated to the heroic death of thousands of Canadian soldiers who fought in France during the World War I.

KK: What kind of experience is the act of writing for you?

JU: For me writing is a voyage of discovery. Once the characters enter my fictional world I am curious to find out how they evolve and interact with each other. The initial creative impulse is the characters and the setting. As I keep on writing, I try to put more emotional depth and resonance into my narrative.

KK: How much time does it take you to do the preliminary research?

JU: Working in the archives takes a very long time. It can change the conception of the plot. When writing, I no longer use notes, but already finely digested information. Then I let my imagination take me on a journey into the unknown.

KK: Are the characters in some way aspects of your personality?

JU: In some way, they certainly are. It is like a dream and whatever makes part of the dream, it is a projection of your subconscious.

KK: Your previous novel “The Underpainter” is often compared with “The English Patient”. In what way is history related to personal fate in it?

JU: The historical events are focused through the personal fate of the characters, through their perceptions and experiences. I have attempted at rendering the artistic atmosphere of New York when modern art was at its peak.

KK: The convincing historical events seem to be seen through the keyhole of an artist’s studio. It gives compactness and unity to your overplay with historical layers.

JU: I have aimed at this in both novels and I hope I have succeeded at it.

KK: You have also written poetry. Where does it rank in your scale of literary values?

JU: For me, poetry is the most important literary form. Great poetry bypasses the intellect and gets into your unconsciousness. I had a long poem recently published in “The Walrus”, a reputable Canadian magazine - I am very proud of it. Imagery from my poetry flows into the novels. Recurrent images with me are paintings and scenery.

KK: When did you decide to become a writer?

JU: I always wanted to be an author. After I had my daughter, I decided to try. Women writers like Margaret Atwood, Alistair McLoud and Carrol Shields have influenced and encouraged me a lot. My husband who is a university professor, has supported my literary endeavors too. Feminism has had its powerful impact on me, shaping many of my ideas and values.

KK: Apart from the researched materials, what other things go into the texture of your works?

JU: Mostly things I have seen and experienced personally, memorable impressions like those of my trip to Ireland. For instance, the story of my husband’s family makes part of my last novel “The Stone Carvers”.

KK: What kind of audience do you have in mind when you write?

JU: I have mostly in mind my family members, especially my mother. She is voracious reader and my most severe critic.

KK: How about your impressions from Bulgaria?

JU: I have the feeling that I have been here a long time. The people are so warm and friendly. I was impressed by your rich cultural heritage - Roman forums and mosaics, Byzantine churches and icons, unique Revival period architecture. I hope to come back very soon. I see certain analogies between Bulgarian and Irish history – you know, as the case with Ireland is, the tragic historical plight has produced marvelous poetry, prose and drama. I would like to know more about Bulgarian literature, for I am sure gems could be discovered there.

SpotOn Magazine, April 2004