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CHRIS BOHJALIAN: IT WAS IMPORTANT FOR ME TO TELL THE STORY OF THE ARMENIAN GENOCIDE
14:21 12.07.2013
Bestselling novelist Chris Bohjalian had long been searching for
a way to write a book set in Tuscany during World War Two, but it
wasn't until his daughter performed in "Romeo and Juliet" that all
the pieces came together.
The result was "The Light in the Ruins", a tale centring on the doomed
love between an Italian woman from a noble family and the German
soldier she comes to know during the period in 1944 when Tuscany,
as Bohjalian puts it, "became an innermost ring of Dante's Inferno."
Bohjalian, the author of 15 novels including "The Sandcastle Girls",
which deals with the killing of Armenian Christians by Ottoman Turks
during World War One that his grandparents survived, spoke with
Reutersabout history, anxiety and making use of darkness in writing.
Q: The idea of reimagining a classic is interesting, and sometimes
it works better than others. How was it for you?
A: In some ways, I thought it was going to be a project a bit like my
2007 project, "The Double Bind," which is about a social worker who
believes she's found Daisy Buchanan and Jay Gatsby's bastard son... But
the book took one of those surprising lefthand turns, and it evolved
well beyond "Romeo and Juliet". It's still a love story. I love big,
sweeping, epic love stories, especially love stories set in the midst
of war, but it grew beyond that. It's not simply the love story of
Cristina and Friedrich. The characters that I think about most are
actually parallel women - both 19 in 1944, and then somewhat older
in 1955. Those two women are Cristina Rosati, my Tuscan nobleman's
daughter, and Serafina, my partisan, who is both emotionally and
physically scarred by the war... Their paths will cross again in
1955 when Serafina is investigating the murders of the Risati women
in Florence.
Q: Obviously "The Sandcastle Girls" is on a subject that's closer to
you personally than a lot of your books, did this make it harder or
easier for you?
A: Sometimes a book is a book, and sometimes a book becomes a mission.
And "The Sandcastle Girls" became for me a deeply personal mission.
Outside of the Armenian Diaspora, most of the world knows next
to nothing of the Armenian genocide. I'm the grandson of genocide
survivors, so it was important for me to tell this story and tell
it in a way so that everyone would want to read it, which was why I
framed it as a love story.
Q: I read that you've said "The Sandcastle Girls" helped you understand
the geography of your own soul, how did "The Light in the Ruins"
compare?
A: "The Light in the Ruins" was a different kind of project, because
it was dealing with a landscape I cherish. I've been going to this
part of Tuscany every summer for 10 years. This landscape isn't the
geography of my soul the way Armenia is, but in some ways it's the
geography of my immediate family. So many of my favorite memories of
my wife and my daughter come from this area. So in some ways when I
was tearing it apart and showing the deprivations and the horror of
war, I couldn't help but imagine what it must have been like for so
many of the people I've met there in my years of visiting.
Q: What was it like to tear apart a place that you love and show that
dark underside?
A: Clearly I am capable of compartmentalization. I will always be known
best as the novelist whose character cut into the pregnant woman in
"Midwives." That's always going to be part of my legacy. Likewise I'm
now always going to be known as the writer who tried to give voice
to the whispers of the victims of the Armenian genocide. For a book
such as "The Light in the Ruins," I'm shedding light on a topography
that most of the world sees only as a vacation resort. Today,
Tuscany is Disneyland for many tourists. It's all about the food,
and the vineyards, and the sunflowers, and the bike tours. But it
has this interesting, fascinating recent history. When I was writing
this particular book I couldn't help seeing it through that lens,
and I hope I'm clarifying what Tuscany really is and what the people
who lived there endured. For a lot of Tuscans, they were the grass
beneath the battling elephants' feet.
Q: I also think that finding that kind of history in a place that
today might be a kind of Disneyland really adds to your overall view
of it. It's an important thing to remember.
A: One of my favourite literary therapists is Thomas Moore, who wrote
"Care of the Soul." One of the things he talks about is that sometimes,
the soul needs gray - and you simply have to allow the soul its access
to gray. You can't force a haloed cheerfulness on certain subjects and
on certain days. And maybe that's one of the things I do in my work,
is that I allow the soul to access its gray.
http://www.armradio.am/en/2013/07/12/chris-bohjalian-it-was-important-to-me-to-tell-the-story-of-the-armenian-genocide/
14:21 12.07.2013
Bestselling novelist Chris Bohjalian had long been searching for
a way to write a book set in Tuscany during World War Two, but it
wasn't until his daughter performed in "Romeo and Juliet" that all
the pieces came together.
The result was "The Light in the Ruins", a tale centring on the doomed
love between an Italian woman from a noble family and the German
soldier she comes to know during the period in 1944 when Tuscany,
as Bohjalian puts it, "became an innermost ring of Dante's Inferno."
Bohjalian, the author of 15 novels including "The Sandcastle Girls",
which deals with the killing of Armenian Christians by Ottoman Turks
during World War One that his grandparents survived, spoke with
Reutersabout history, anxiety and making use of darkness in writing.
Q: The idea of reimagining a classic is interesting, and sometimes
it works better than others. How was it for you?
A: In some ways, I thought it was going to be a project a bit like my
2007 project, "The Double Bind," which is about a social worker who
believes she's found Daisy Buchanan and Jay Gatsby's bastard son... But
the book took one of those surprising lefthand turns, and it evolved
well beyond "Romeo and Juliet". It's still a love story. I love big,
sweeping, epic love stories, especially love stories set in the midst
of war, but it grew beyond that. It's not simply the love story of
Cristina and Friedrich. The characters that I think about most are
actually parallel women - both 19 in 1944, and then somewhat older
in 1955. Those two women are Cristina Rosati, my Tuscan nobleman's
daughter, and Serafina, my partisan, who is both emotionally and
physically scarred by the war... Their paths will cross again in
1955 when Serafina is investigating the murders of the Risati women
in Florence.
Q: Obviously "The Sandcastle Girls" is on a subject that's closer to
you personally than a lot of your books, did this make it harder or
easier for you?
A: Sometimes a book is a book, and sometimes a book becomes a mission.
And "The Sandcastle Girls" became for me a deeply personal mission.
Outside of the Armenian Diaspora, most of the world knows next
to nothing of the Armenian genocide. I'm the grandson of genocide
survivors, so it was important for me to tell this story and tell
it in a way so that everyone would want to read it, which was why I
framed it as a love story.
Q: I read that you've said "The Sandcastle Girls" helped you understand
the geography of your own soul, how did "The Light in the Ruins"
compare?
A: "The Light in the Ruins" was a different kind of project, because
it was dealing with a landscape I cherish. I've been going to this
part of Tuscany every summer for 10 years. This landscape isn't the
geography of my soul the way Armenia is, but in some ways it's the
geography of my immediate family. So many of my favorite memories of
my wife and my daughter come from this area. So in some ways when I
was tearing it apart and showing the deprivations and the horror of
war, I couldn't help but imagine what it must have been like for so
many of the people I've met there in my years of visiting.
Q: What was it like to tear apart a place that you love and show that
dark underside?
A: Clearly I am capable of compartmentalization. I will always be known
best as the novelist whose character cut into the pregnant woman in
"Midwives." That's always going to be part of my legacy. Likewise I'm
now always going to be known as the writer who tried to give voice
to the whispers of the victims of the Armenian genocide. For a book
such as "The Light in the Ruins," I'm shedding light on a topography
that most of the world sees only as a vacation resort. Today,
Tuscany is Disneyland for many tourists. It's all about the food,
and the vineyards, and the sunflowers, and the bike tours. But it
has this interesting, fascinating recent history. When I was writing
this particular book I couldn't help seeing it through that lens,
and I hope I'm clarifying what Tuscany really is and what the people
who lived there endured. For a lot of Tuscans, they were the grass
beneath the battling elephants' feet.
Q: I also think that finding that kind of history in a place that
today might be a kind of Disneyland really adds to your overall view
of it. It's an important thing to remember.
A: One of my favourite literary therapists is Thomas Moore, who wrote
"Care of the Soul." One of the things he talks about is that sometimes,
the soul needs gray - and you simply have to allow the soul its access
to gray. You can't force a haloed cheerfulness on certain subjects and
on certain days. And maybe that's one of the things I do in my work,
is that I allow the soul to access its gray.
http://www.armradio.am/en/2013/07/12/chris-bohjalian-it-was-important-to-me-to-tell-the-story-of-the-armenian-genocide/