Elizabeth Jane Corbett

writing her way home

Tag: mabinogion

Publication day – the inspiration of having a Welsh novelist in the family

Growing up in Australia. I was raised on childhood stories that occurred in a far away place my parents fondly called ‘home.’ Dad talked of Ilford, during the blitz, and how this father an art metalworker had worked on the Bank of England’s wrought iron doors. Mum spoke of growing up in industrial South Wales. Her father had worked on the docks, she told us. But she was related to Lord Llewellyn Haycock. Her cousin was the 1960s historical novelist John James.

Now, growing up in Australia I wasn’t too impressed by the notion of having a lord in the family (even if he did earn the title). However, I recall thinking: maybe one day I’ll write a novel too!

I married young and had a pocket full of children and the novel writing dream got forgotten. Though, at one point, I did order John James’s, Not for all the Gold in Ireland, through our local library’s interlibrary loan service. It was strangely compelling, with characters called Taliesin and Rhiannon and Pryderi. I didn’t realise at the time those were names from the Mabinigion.

Later when I finally set out to write a novel of my own, I decided on a whim to include Welsh characters. Through a process of hap a damwain, those characters became storytellers. I read a host of Welsh fairy tales in the course of my research as well as the Mabinogion and thought, hang on a sec, where have I heard these names before?

I learned Welsh while drafting my novel and began writing to Gwyn, another of mum’s cousins. Gwyn had researched the James family tree. The accompanying booklet had articles about Lord Llywellyn Haycock and John James (so it was all true!). When Gwyn heard I was writing a novel, he sent me an obituary for John James which he had published in his church magazine. Among other things, he wrote:

“His immediate family and myself hope that his written work will remain as a tribute to his genius, and that possibly, someday, one or two of his descendants will display some of his talents.”

Now, I’m no genius but I am descended from David James, John’s grandfather, and, I think, Gwyn therefore considered me one of those descendants. Gulp. No pressure. I’d in fact won myself a supporter and, I guess, in some ways, today Gywn’s hopes have been fulfilled.

Stranger still, I have since learned where the names Taliesin, Pryderi and Rhiannon originally come from. My book is set in a different era to John James’s Not for all the Gold in Ireland, and depicts migrants sailing to Australia. Yet, in the end, I’d drawn inspiration from the same myths and legends mum’s cousin had, all those years ago.

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The Tides Between is available through: Amazon, iBooks, Kobo, Barnes & Noble and GooglePlay. A hard copy of the book can be ordered through Odyssey Books. Or alternatively, through your local bookstore (order details below).

Book Details

ISBN: 978-1-925652-22-2 (pbk) | 978-1-925652-23-9 (ebook)

Category: Young Adult / Historical Fiction

Trade paperback: 300 pages

Publication Date: 20 October 2017

RRP: AU $23.95 (pbk) | $5.99 (ebook)

Ghostbird – and interview with Carol Lovekin

I generally read books set in the past. I don’t mind those set half in the present and half in the past. Though my preference is definitely for the former. If I do read books set in the present they generally have a quirky, mystical element to them. Or are set in Wales. Which is how I found myself ordering a copy of Ghostbird. It popped up on my Facebook feed. I have to admit the cover intrigued me. As did the recommendation at the bottom:

‘Charming, quirky, magical.’ Joanne Harris.

I flipped over to the Honno site and read the blurb.

Nothing hurts like not knowing who you are. Nobody will tell Cadi anything about her father and her sister. Her mother Violet believes she can only cope with the past by never talking about it. Lili, Cadi’s aunt, is stuck in the middle, bound by a promise she shouldn’t have made. But this summer, Cadi is determined to find out the truth.

In a world of hauntings and magic, in a village where it rains throughout August, as Cadi starts on her search the secrets and the ghosts begin to wake up. None of the Hopkins women will be able to escape them.

Okay, so this was starting to sound like my kind of book. The magical quirky, present day hauntedness was happening in Wales. I ordered a copy. The book didn’t disappoint. It had rain and damp and overgrown gardens and village gossips, resonance with the mythical character Blodeuwedd, Welsh words, fierce original characters, a compelling story and clear, evocative prose. When I turned the final page, I flipped over to Google (as you do) and typed in the author’s name. Carol Lovekin had a blog and she sounded interesting. I shot her an email asking whether she would be willing to answer a few questions for my blog. She agreed.

I had been intrigued while reading Ghostbird to find that much of the viewpoint was carried by a fourteen-year-old girl. I wondered whether Lovekin, had ever thought she was writing for teens. Or indeed whether she had the market in mind when she was writing at all. Here is what she had to say to me:

At no point did I ever imagine myself writing YA. The truth is I’ve always been a bit snobbish about the genre. I’ve learned not to be, but it doesn’t mean I ever planned for Ghostbird to be marketed as a teen novel. And although the possibility of ‘cross-over’ was mentioned, to my publishers’ credit, they haven’t tried. If a young audience does read and enjoy my book, I’m delighted! I don’t mind who reads it.  It was always a novel for adults though. Cadi found me – I’m still unsure why. I have always had easy relationships with young women and girls; I like their fierceness and their courage. And I have strong granddaughters who continue to inspire me.

While reading Lovekin’s blog, I noticed that she didn’t initially realise that she was writing a ghost story. I asked her at what point she realised she was and how the realisation changed her approach. Also what aspects of the novel changed in the re-drafting process?

In the beginning, although I imagined the story with a ghost – Cadi’s baby sister – I wrote her only in brief vignettes. The initial idea was that the myth would be a whispered soundtrack. Once my editor read the complete draft she made it clear the ghost needed a bigger voice. I went away and wrote the ghost’s story in isolation. It was genuinely exciting and once it was done – and slotted into the main narrative – I realized, yes, I’m writing a ghost story! The notion pleased me hugely because I have ‘issues’ with genre and have never really been able to place my work outside of the ubiquitous ‘magical realism’ label. I don’t mind magical realism, I love it – I do get tired of it being appropriated by fantasy writers. Magical realism has very little in common with fantasy. Many things changed during the redrafting of the book, not least the title. And relationships between some of the characters changed too.

The book has a great connection to the landscape and also some very realistic spells and incantations. I wanted to know where they came from. Whether they were a product or research, or Lovekin’s own spirituality?

Ah… The ‘witch’ question! Everyone wants to know ‘where it all comes from’ and some people mistakenly assume I’m a pagan. I’m not – or if I am, it’s like my relationship with ‘fashionable’ and quite accidental! I am an eco-feminist and yes, I have decades of practice behind me. I know my ‘craft’ so to speak; therefore no research was needed with regard to Lili and her ‘powers.

Photograph: Janey Stevens

 

A committed feminist, Lovekin’s characters have an uneasy relationship with the story of Blodeuwedd. Here is what Lovekin had to say about her own relationship with the text:

When I first read The Mabinogion I was struck by the notion that to be turned into a bird could be considered a curse. Initially and purely as an exercise in reclaiming her for feminism, I rewrote Blodeuwedd’s story from her point of view; made her angry and potentially vengeful. I gave Blodeuwedd her voice if you like. Years later, she was still there, haunting me and one day I quite literally woke up and I had Cadi. Fully formed and in complete agreement with me that Blodeuwedd deserved a better fate.

I asked Lovekin how she balanced her love of Welsh mythology against the perceived misogyny in the Mabiniogi?

I don’t address or try to make sense of the misogyny in mythology and legend; or in fairy tales for that matter. I have always enjoyed picking them apart and as I’ve already mentioned, reclaiming them. ‘

When it was first published in 1992, I read Women Who Run With the Wolves by Clarissa Pinkola Estes and I found myself enchanted. She presented me with a whole new way of looking at myth and fairytale which chimed perfectly with my feminism. Goddess is a metaphor for me – the perfect metaphor for the Land and I do believe that once the divine feminine power was diminished, humanity was the loser.

Finally I asked how writing the next book was going.

I’m finding it interesting and a little daunting. There is an expectation – there’s bound to be: people read and like a book and want more. Hopefully they will be happy with more of the same because I’m writing another ghost story. (I have to get it past my editor first of course!) I hope my perspective remains the same: the writing is what matters. It’s the cake so to speak and ‘being published’ is the icing. It’s always about the creative process – with maybe a bit more urgency this time? If writing ever became unenjoyable, I would stop.

I, for one hope she doesn’t stop. I am already looking forward to her next charming, quirky, magical, eco-feminist ghost story set in Wales. But I think Lovekin’s philosophy is the takeaway for me. The creatve process is what matters. Being published is merely the icing on the cake. It is the point I bring myself back to every time I sit down to write. 🙂

Blog twenty four o Gymru – a word on Welsh fairy tales

I haven’t blogged for a while. The reason – I’m desperate to get this pre-submission draft of my manuscript finished before heading back to Melbourne. If you know anything about my novel, you will know it is a historical novel set in 1841 on board an emigrant vessel bound for colonial Australia. It has two English viewpoint characters and a Welsh one. My Welsh viewpoint character is a storyteller. His traditional Welsh fairy tales both mirror and affect the other character’s journeys. A tall order for a first novel, perhaps? Or outright ridiculous? In polite literary circles, you may hear it called an ‘ambitious project.’

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As a consequence of this ‘ambitious project,’ I’ve read countless Welsh myths, legends, and fairy tales, primarily in the English language. One of my aims for this time in Wales was to increase my Welsh language understanding of these stories. You can therefore imagine my delight when Gwin Dylanwad advertised a series of Welsh language talks on the Mabinogi. The series wasn’t an event for Welsh language learners. I was definitely the least fluent speaker in the room. But I spent four pleasurable evenings listening to Dr Gwilym Morus-Baird discuss the amazing body of medieval Welsh literature that is known to the English speaking world as the Mabinogion.

The Medd a Mabinogi series was followed by a session on the Tylwyth Teg ( fair family), by Gwyn Edwards. Half way through the evening, Gwyn started talking about Llyn y Fan Fach, the story of a mysterious lake woman who married a mortal. Her father’s only condition being that his daughter mustn’t be struck causelessly, for on the third blow she and all of her dowry would return to the lake (at this point, the feminist in me is compelled to add that it should have been the first blow, causeless, or otherwise).

I recognised the story immediately (yes! a significant comprehension milestone). It is one of the stories I’ve used in my novel. I have walked the rocky mountain path to Llyn y Fan Fach (lake of the small place) a tiny mountain top lake at the northern end of the Black Mountain. I’ve read multiple versions of the story, know it like the back of my hand. At least…I thought I did. Except, the fairy father’s condition in Gwyn Evans’ version of the tale was different. Three causeless blows had been replaced  by three blows with a piece of iron.

The change wasn’t inconceivable. Welsh fairies don’t like iron. They don’t have wings either. They often dress in green. But that’s irrelevant. I glanced about the room, wondering what my class mates thought about this iron addition to the tale. They didn’t seem too perturbed (savages). Then again, they mightn’t have had so much riding on the situation. I on the other hand, sat in a heart pounding, cold sweat, thinking, OMG, the Welsh language version of the story is different. I’m going to re-work whole segments of my novel, just when I thought I was close to finishing.

Half way through his explanation of the tale, Gwyn Evans stopped, smiled, shook his head. ‘O mae’n ddrwg gen iDw i wedi gwneud camgymeriad – Oh, I’m sorry. I have made a mistake.

Mistake! I held my breath.

‘Nid oedd haern un o’r amodau – iron wasn’t one of the conditions. Dim ond tri trawiad heb achos – only three causeless blows.’

No iron! I found myself melting in a warm puddle of relief.

After they had finished wiping me off the floor, the remainder of the evening passed without further trauma. Here are some of the things I have learned about Welsh fairies:

  • They don’t have wings (as mentioned)
  • Neither do they like iron
  • Some people think they are human sized
  • Others that they are diminutive
  • They live beneath the earth
  • Time in fairy land is different to human time
  • If you get caught in a fairy circle it is hard to escape
  • Though their are methods
  • This by the way is a serious topic – and not hypothetical
  • Some believe fairy tales are the remnant of a folk memory harking back to a previous time – when trees, and stones and cairns had spirits
  • Others that they are simply the way to explain the inexplicable
  • Others still, that they are inherently evil
  • You must never try to steal from the fairies, or double cross them
  • They have been known to steal children
  • Reward people’s virtue
  • But whatever the case, you must always be careful
  • And even if you don’t believe in fairies, the tales are worth listening to

 

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