Culture is suppose to deal with the ‘human condition’ – to take note of an element in our society and bring it forth for us to consider and discuss. But that rarely seems to happen anymore. We are bombarded with more and more items that seem to be ‘marketed’ to us and our pocket books. So when we come across an item where a person carefully crafts an item to show something about the ‘human condition’ many of us still do take time to ponder that item. And we try to share our thoughts about that item with others.
Cordelia Strube states she is a private person. In being that private person she quietly observes the world around her and then crafts her observations into works for us to consider. Her novel “On the Shores of Darkness, There is Light” certainly became a topic of conversation for my many circles these past few months. So it not only a thrill but a bit of chance to gain some enlightenment when Strube agreed to answer a few select questions for me.
1) You seem to have put quite a bit of thought into “On the Shores of Darkness, There is Light”. Was there anything specific that inspired you to write it? How long did it take to write?
I was sitting in a Tim Horton’s, people-watching through the window, and noticed a small boy with an over-sized head. He was gripping his mother’s hand as they walked, both of them ignoring the stares of passersby. In the mother’s expression I recognized a look all too familiar to mothers a.k.a. if you hurt my child, I will kill you. There was a grace and nobility about these two seemingly frail people, pushing courageously through their daily grind despite disability. Once home I googled causes for skull enlargement in children and, shazam, Irwin was born. Then I started what if-ing, which I do constantly while writing novels. What if the sick child has a well sibling? What love and tenderness is left for the well sibling who will always, in the eyes of the mother devoted to the sick child, get better? How do the well and sick children feel about one another? I wanted to reveal this complex sibling connection from both points of view, which resulted in two protagonists in a two part novel.
2) A lot of fellow readers in my circle seem to feel a certain empathy for the protagonist, Harriet, or they are very confused by her. How have you found readers’ reaction to her and her family? Are there any reactions to the book that you care to share?
The readers who have contacted me love Harriet almost possessively, and take a few days to forgive me for what I put her through. I did not set out to write a lovable 11 year-old. She is prickly, fierce, stubborn, determined and, in her own estimation, unlovable. This devotion from readers surprises and cheers me. Maybe it’s because Harriet is a rebel and there’s a bit of rebel in us all.
3) Your website lists both books you have written and stage/radio plays you have produced. How do you contrast the two forms of writing (if at all). Is there one form you prefer over the other?
I love all narrative forms. Radio plays are the toughest because you reveal everything through sound effects and dialogue. I avoid the the voice-over device to reveal exposition, and never plug dialogue with expository writing, preferring sparse speech. I put each line through a sieve repeatedly. Few people talk in huge chunks, and if they do, they’re usually boring. So it’s just me, the actors and the sound effects crew building worlds and people in listeners’ minds.
Stage plays have actors, sets, lighting and sound effects. Many choices that are limited only by budgets. Often the most intriguing stage plays make much from very little.
With film, a primarily visual medium, you have the added bonus of close-ups to reveal subtext. My screenplays have considerably fewer spoken words than my radio or stage plays.
Novels know no limits. You can build worlds, civilizations, multiple galaxies. You can jump in and out of thoughts, introduce characters in one scene then ditch them in the next, straddle continents and time zones in a sentence. Novel writing means absolute artistic freedom. And you have the added bonus of the reader’s unbridled imagination. They will envision and feel things you didn’t know you were writing. Many times readers have mentioned elements in my novels I didn’t realize were there. Readers come to the narrative with their own histories which add colour and dimension.
4) You have a complex list of literary events in which you are partaking over the next few months. Many writers that I talk to seem to have a level of fatigue that comes over them when they do public events. Are public readings and discussions of your work something you enjoy doing?
It depends on the crowd. If they get it, I’m buzzed. If they don’t, I feel crummy and regret showing up. With On The Shores Of Darkness, There Is Light, my 10th novel, I decided to only do events that pay some form of honorarium. I’ve never understood why authors are expected to offer their time and services for free. This request narrows invites down and slows the pace. Q and A is more interesting for me than readings because I get to ask questions of readers. I never stop learning from them. But yes, you need stamina, both mental and physical, when you’re promoting a book. Everybody’s a critic and you better be able to suck it up.
5) This is a question I am really eager to ask you. Many writers I talk to about their presence on the internet seem to make a comment about it being something they ‘need’ to do. The only presence I can tell you have as a writer is through your website. (And your comment on your site “In a world overrun by technology and advertising designed to make us hunger for material gain, the value of human connections cannot be measured” is very reflective of many people’s thoughts around me.) What are your thoughts in relation to the use of the internet with regard to promoting your writing? Do you get many people commenting about your books through your website? Are you avoiding social-media platforms (like Facebook and Twitter) on purpose?
I’m a private person. I don’t like having my picture taken. It takes me a long time to compose a sentence. I don’t enjoy staring into screens of any size; don’t have a cell or a TV. These are not social media-friendly qualities. I have two laptops, one connected to the internet, the other remains a disconnected island for my fiction. Briefly, when traveling, I tried a tablet and found myself checking my email accounts frequently because it was so easy. The checking became compulsive and interfered with my thoughts, and fiction–for me–is all about allowing thoughts to wander.
I’m more comfortable socializing one on one in real life, in real time, with all kinds of people in all kinds of real circumstances. But even the word real has become unreal, hasn’t it? Which is why I called the reality show about people who think they’re on reality shows in my novel Milosz “Reality Check”.
I want people vulnerable around me, not playing a shiny, scratch-proof role they’ve devised for themselves online. Twitter etc works wonderfully for writers who think it’s wonderful. I’m available to readers via my website and when they take the time to contact me, I always respond, have even made real friends that way.