Author Q&A
In this series of Q&As, the Climate Fiction Prize talks to each of the shortlisted writers about all things climate, fiction and the inspiration behind their novel.
- How would you summarise your book in one sentence?
I’m sorry, I am very bad at summarizing my own books and so I volley this question back to you!!
- What inspired you to write this story?
An American man once told my Ukrainian-born sister that he just wanted a “nice Ukrainian girl for a wife. American women are so ambitious and aggressive.” A research rabbit hole followed. I wanted to know the origins of this misguided perception of Ukrainian women as docile creatures. I read many self-published books by North American men on how to find the perfect Ukrainian bride. That’s how I first heard about romance tours. I also learned about snail conservation at the same time and found a way to fit both obsessions into the same book.
- Did you set out to write a story about climate or did those themes develop through the writing process?
The Guardian recently asked me a similar question for their newsletter (and used a sentence or two of the answer) so I thought I’d post it here too: I confess I was not trying to write about climate change. The topic filled me with overwhelm and a temptation to avoid it entirely. In Endling, I set out to write about a single snail, presumably the last of his species, and the biologist trying against all odds to find him a mate. I simply liked the word “endling.”
- What’s one book you think readers should pick up after they finish your novel?
Eradication by Jonathan Miles. It’s a great companion book for Endling, but he approaches the ecological crisis from the opposite end: through the conundrum of overpopulation. A schoolteacher who has never held a gun in his life before signs up to cull thousands of invasive goats off an ecologically sensitive island. It’s both harrowing and somehow
hilarious.
- Is there a book (or film/TV series/play) that made you see the climate crisis differently?
The above book, I would say.
- What would you say to a reader looking for a sense of hope in turbulent times?
I’m still grappling with this question, but I do believe that the turbulent times will only get worse if we believe they can only get worse. The possibilities are still open—that’s not even hopeful thinking, just a recognition that the future is not yet determined.
- How do you think storytelling can shape our response to the climate crisis and our sense of what future is possible?
As I said, in my own storytelling, I started small. One snail and its caretaker. I started small, and little by little the climate change implications of the story became digestible for me as a writer. I can only hope the same for a reader. We can’t take action in real life until we can face the climate catastrophe head on, and for this, fiction can provide a safe (and at times even humorous) container.
- What’s the one piece of advice you would give to a writer facing a blank page?
Start writing text any which way. Start with bullet points. Start with a summary of the scene. Start with a hypothetical “If I were to write the scene [through this character’s POV / in this style / in present vs. past tense etc.] here’s how I’d do it…”. Anything just to get the words flowing.
- Lefty touched many hearts and probably inspired many rabbit hole deep dives into malacology and the necessity of the balance of species. Why this intimate exploration of interspecies kinship especially in the face of war?
My main character, Yeva, has trouble connecting with other humans and it simply made sense that she would connect more with non-human creatures. And conservation work doesn’t end during war. The need to protect against ecocide becomes all the more urgent. It would also be great if you could please provide a picture and short description of where you wrote most of your novel from.