Tracey Warr is back with her latest interview guest, the lyrical writer Jacqueline Yallop, who says she’s a believer in writers being “on the move.” Hm, let’s see what she means by that…
Greetings, Displaced Nationers. My guest this month is British writer Jacqueline Yallop, who has been living in South-West France for more than ten years while also spending time in the UK.
Before moving countries, Jacqueline studied English Literature at Lincoln College, Oxford. She went on to obtain a PhD at the University of Sheffield, with a thesis exploring literature, objects, collecting and museums in the 19th century.
Jacqueline’s first career was as a museum curator. She worked with a variety of collections including the Wordsworth Trust collection and archive, at Dove Cottage in the Lake District, and the Ruskin collection, at Museums Sheffield.
She has since moved on to a career in creative writing and is the author of three novels:
- Marlford (2015), set in a dilapidated manor house in England in 1969.
- Obedience (2011), set mostly in a convent in 1940s occupied France; and
- Kissing Alice (2010), set in 1920s and 1930s England (shortlisted for the 2010 McKitterick Prize).
She has two non-fiction works as well:
- Magpies, Squirrels and Thieves: How the Victorians Collected the World (2012), which tells the stories of some of the 19th-century’s most intriguing collectors following their perilous journeys across the globe in the hunt for rare and beautiful objects; and
- Dreamstreets: A Journey Through Britain’s Village Utopias (2015), exploring a network of “ideal” villages which sprang up across Britain during the 18th and 19th centuries. A Guardian critic praised its “sharp and tangible” descriptions of place, surface and mood.
Jacqueline’s most recent work, out this month, is the memoir Big Pig Little Pig: A Tale of Two Pigs in France, about why she quit city life to move to France to rear pigs.
In addition to her own creative endeavors, Jacqueline teaches creative writing at the University of Aberystwyth and mentors emerging writers.
* * *
Welcome, Jacqueline, to Location, Locution. My first question to you is: how has being “displaced” affected your writing? Has it affected what you write, how you write, that you write at all, or had some other effect?
I don’t really consider myself displaced so much, as “on the move”! Being on the move is helpful as a writer, because I find that it’s often when you first arrive somewhere that you see the place most clearly, with the curiosity and detachment of a newcomer. My second novel, Obedience, for example, was very much inspired by stories I’d heard from neighbours when I first moved to France—stories which struck me at the time as strange and moving and worthy of attention.
But how about nowadays? You’ve been living in France for a while.
True. My memoir, Big Pig Little Pig, is absolutely rooted in my growing attachment to a particular place: it aims to capture the moment when you stop feeling displaced and begin to feel as though you belong. That’s an important—and ambiguous—moment for me.
Which comes first for you, story or location?
The two are so tangled together that I couldn’t say. When I begin to imagine a new story, I always see it in a particular place and begin to people it with characters that act in the ways they do because of the locations that have helped form them. But then when I start to think about locations, I’m immediately inspired by the character stories that help to define place.
What’s your technique for evoking the atmosphere of a place?
I don’t think there’s a secret to this: it’s about finding those little details that say a lot without words; it’s about trying to nail down where the past meets the present, and the crossover between the physical environment—townscapes, landscapes—and its less tangible “spirit”.
Can you give us some examples of what you mean by little details: landscape, culture, food?
All of these, I would say, as well as other things: what do people look like in this place? What do they wear? How do they speak? What work do they do? In the end, of course, most places look very similar to somewhere else, one way or another—but there will be a combination of people, things, events, nature etc. that end up making a place unique.
Can you give a brief example from your latest work that illustrates place?
Here’s a paragraph from Big Pig Little Pig, which, I hope, captures something of the joy and intimacy of being close to the land:
“One of the pigs’ new favourite games is pear chase. I stand at the top of the slope with a bucket of windfall pears from the tree in our garden. The fruit are too small and grainy for us, but the pigs love them, and in particular love foraging for them, so I hurl them one at a time as hard and as far as I can. The pears bounce off in all directions, ricocheting from trunks, rolling down the terraces, splatting hard against stones; the pigs follow after, galloping down the hill, slipping and sliding, stopping to find a pear, hearing another one fall close by and setting off after it, barging and wrangling, snuffling through the dug earth after the scent of fruit. When I’ve emptied the bucket I watch them for a while and then leave them to their search; they’ll be at it a long time.”
I love the way the passage takes us right into the scene. It seems that you feel you need to know a place before using it as a setting?
All my books have been set in places I know very well—I’ve either lived in the place or have family connections there. Some of the students I teach manage to create a completely fictional place from scratch—perhaps a fantasy setting, or a dystopian city—but I struggle to do this. I prefer to have my ideas rooted in sights, sounds and smells I’ve experienced.
Last but not least, which writers do you admire for the way they use location?
Jacqueline Yallop’s picks for contemporary novelists who have mastered the art of writing about place
This is an impossible question! I admire all sorts. Lots of the “classic” novels use location to great effect: Dickens’s London, Hardy’s Wessex, Joyce’s Dublin, Emily Brontë’s moorland… But of course, contemporary writers are strong on this, too. There’s a lovely short novel by the Catalan writer Maria Barbal, known in English as Stone in a Landslide, which evokes the Pyrenean landscapes and communities very movingly; I also very much enjoy the way Marilynne Robinson captures the American Mid-West.
Thanks so much, Jacqueline, for your answers. It’s been a great pleasure.
* * *
Readers, any questions for Jacqueline? Please leave them in the comments below.
Meanwhile, if you would like to discover more about Jacqueline Yallop and her creative output, I suggest you visit her author site. You can also follow her on Twitter.
À bientôt! Till next time…
* * *
Thank you so much, Tracey and Jacqueline! I have to say, I absolutely love the passage from Jacqueline’s memoir! This is in part because I am an auntie to a miniature pot-bellied pig (who lives in Manhattan) but mostly because, although I’ve never been to that part of France, I now feel as though I’ve visited the exact place where the pigs were playing the pear game. Just delightful! —ML Awanohara
Tracey Warr is an English writer living mostly in France. She has published three early medieval novels with Impress Books: Conquest: Daughter of the Last King (2016), The Viking Hostage (2014), and Almodis the Peaceweaver (2011), as well as a future fiction novella, Meanda (2016), set on a watery exoplanet, as well as non-fiction books and essays on contemporary art. She teaches on creative writing courses in France with A Chapter Away.
NOTE: If you happen to be anywhere near Carew Castle (Pembrokeshire coast, west Wales) on Sunday, Tracey Warr will be speaking about the history behind her fiction. She’ll be answering the question: which castle was Welsh Princess Nest kidnapped from? Sunday, July 30, 2017, 13:00-14:00.
STAY TUNED for next week’s fab posts!
If you enjoyed this post, we invite you to register for The Displaced Dispatch, a round up of biweekly posts from The Displaced Nation and much, much more. Register for The Displaced Dispatch by clicking here!
- LOCATION, LOCUTION: Canadian author Dianne Ascroft lives, eats, breathes—and writes—Ireland, past and present
- LOCATION, LOCUTION: The sensuousness of the French Mediterranean infuses the works of actress-turned-author Carol Drinkwater
- LOCATION, LOCUTION: After spending summers in rural France, Stephen Goldenberg uses Villefranche as setting for murder mystery novel
- LOCATION, LOCUTION: For acclaimed British novelist Simon Mawer, not feeling at home anywhere fires creativity
- LOCATION, LOCUTION: Novelist Dinah Jefferies melds themes of displacement and loss with the seductive beauty of the East
Top visual: The World Book (1920), by Eric Fischer via Flickr (CC BY 2.0); “Writing? Yeah.” by Caleb Roenigk via Flickr (CC BY 2.0); author photo and photos of French countryside, supplied; photo of Sheffield via Pixabay.
Second visual: Photo of author’s house in France (supplied).
Third visual: Omppu-possu vauhdissa! by samerika! via Flickr (CC BY-SA 2.0).
Last visual: Book cover art.