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Little Monsters: why I wrote it

9780330450362-01Where do novels come from? The trigger for Little Monsters was actually the first sentence – 'When I was thirteen my father killed my mother' - which came to me one night, probably as a semi-remembered remnant of a dream.

I wrote it down, went back to sleep and found it on my note pad the following morning. Typing the words, I found myself remembering a pub I lived near as a teenager, run by an Englishman and his Austrian wife. It was a simple matter to reverse their roles and imagine the manager of the pub as an English woman married to a refugee, in this case from Poland. At this point, the novel had no subject or theme, other than those implicit in the fact of murder and the hurt, puzzled and resentful voice of the narrator. I felt my way, one sentence leading to the next. By the end of the first chapter, I realised that I wanted to see what it meant to be lost or displaced in some way and I had two characters who’d be able to tell me: Carol, my narrator, and Jozef, her uncle. It wasn’t though, until some ten pages later that I realised my narrator was a woman, at which point everything fell into place. Her voice established itself very quickly and, drawing on my memories of that local pub and the people who lived there, I found that I also had a strong sense of where the book, or part of it, would be set.

As I wrote I started to think about other novels in which children are abandoned or treated badly, Jane Eyre in particular, and this contributed to a bleakness in the emotional and physical landscape; but I also had in mind the sort of books in which children reinvent themselves in order to survive, as refugees are obliged to do. The novel’s very interested in how we decide who we are and what plays into that, as well as in how our versions of ourselves are often inept or inadequate. Most of the characters have an idea of themselves that often, tragically, fails to account for them. This is true for Nicholas, Carol’s cousin, convinced of his vocation as a soldier, but also for Carol, who signally fails to understand her needs, and possibly for Jozef, whose care is also a form of evasion.

One of the best things about writing a novel is that you may need to appear to know a lot about something of which you’re almost entirely ignorant. In one novel, it was taxidermy. In the case of Little Monsters, it was gliding. This came into the book for the obvious reason that there really was a gliding club near the pub; and, of course, it also represents the themes of flight and fortuitousness, which are central to the novel. When it became clear that it would have a narrative role to play as well, I had to do my homework. Thank God for the Internet! Without it, Jozef’s glider would never have left the ground.

One last thing. Someone was looking at the proof and, after reading the first sentence, said, in an anxious way, I do hope this isn’t autobiographical. No, I reassured her. My mother is still alive. My father died last year, a month before his 101st birthday. And, last but not least, I’m a man. That’s good, she said. But it set me thinking about the way in which one’s own life is the source for so much of what’s made up. That’s when I realised that my name, Charles, derives from Carolus and that my partner’s name, Giuseppe, is the Italian version of Jozef.

[Little Monsters is out now and you can buy it here. Charles Lambert’s own blog is here.]

Posted by Charles Lambert at 06/03/08, 15:07:13
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Tags | Writing | Picador authors 

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