I've just finished chairing a series of seminars
about historical fiction for the Open University. (There's more about this series here.) There were six speakers, all brilliant and all with a different angle on
historical writing and the way in which it relates to other forms of fiction -
and to different academic disciplines. I'll be posting in more detail about the subjects we discussed in the next few weeks.
It may seem pretty straightforward to come up with
a definition for historical fiction - surely we are simply talking about any story that is set more than 50 years ago? But even that is open to debate - Jerome de Groot, one of the seminar speakers,
includes Alan Hollinghurst's 'The Line of Beauty' in the genre, whereas the Historical Novel Society insists that the 1980s are too recent. Whatever the cut off point in
terms of time, it's also the case that this is a vast compendium of a
genre.
There are infinite possibilities for writers of
historical fiction. It includes straightforward generic writing such as Tudor
bodice rippers, and experimental writing like Ali Smith's 'How to be Both'
which was the winner of this year's Goldsmiths prize for experimental fiction as well as being long
listed for the Booker.
I'm interested in the way in which this genre can
be bent and shaped by different writers, and the way that it develops and
morphs with time. I'm also interested in getting well away from the idea that
this is a cosy or conservative genre, in which writers are playing safe.
As Hilary Mantel says: ‘A relation of past events brings you up against events and mentalities
that, should you choose to describe them, would bring you to the borders of
what your readers could bear. The danger you have to negotiate is not the
dimpled coyness of the past – it is its obscenity.’
Some stories may be more brutal than others, but
the ‘obscenity’ of the past fascinates writers – war, murder, fear, oppression,
loss, invasion, imprisonment and bereavement all feature in 21st century
historical fiction, as does squalor, both moral and physical. And just as no
subject is off limits, neither is any period, or any form of experimentation.
Historical fiction is not an escape from the modern world, it can enable us to
see contemporary life more clearly.
Like all
writers, I am learning all the time, and this seminar series taught me a lot. What
I’ve learned in the last couple of months is that the challenges and
complexities of writing historical fiction relate to writing set at any time,
and to any comprehension of the past, whether recent or remote. Put simply, this
is about what can be known, how we can know it, and how that knowledge can be
communicated.
Will this make
it easier to write my next novel? Probably not. But I am certainly fizzing with
ideas not only about the subject matter, but also about ways in which this
story can be told.
