Fictionable

• Caroline Clark: 'This story completely surprised me'

  This Autumn series of podcasts started with Helon Habila confronting the difficult legacy of slavery in the US. Over the next few weeks, we'll be talking with Ephameron and Kasimma. But this time we welcome Caroline Clark and I Will Go.Clark tells us she isn't really sure where this haunting story started."I could tell you a story about how this story came together," she says, "but it probably wouldn't be the real one."The author explains how she assembles her writing mosaic fashion, instead of a "linear, chronological manner"."I think that's what I have to do," she says, "to get my words out there – come upon something from a different angle."This mysterious process may have served her in poetry, memoir and now fiction, but she isn't hung up about genre, suggesting that her work is "all connected"."When I've written everything you'll have the video game of Caroline Clark," the author adds, "and you can play it."We'll be levelling up with Kasimma next time as we discuss history, equality and her short story Mama Taught Me That. You can find her here on the site or via Apple podcasts, Spotify, Acast and Podchaser and more. Hosted on Acast. See acast.com/privacy for more information.

  --------  

  17:31

  --------

  17:31
• Helon Habila: 'What fiction does is make you live the life of the other'

  Here in the northern hemisphere it's getting misty and mellow all over again. Time for Autumn 2025 and another fruitful harvest of podcasts, ripened to the core. Over the next few weeks, we'll be hearing from Caroline Clark, Kasimma and Ephameron. But we launch into autumn with Helon Habila and his story Paradise.Habila tells us how, after twenty years of living in the USA, in this story he's trying to "make sense of America"."History is not past," Habila says, "it's still with us, and we're living the consequences of that history of slavery in America. To even begin to understand the place, you have to grapple with that history."Paradise puts different Black experiences alongside each other – a Nigerian girl living in Northern Virginia, a young woman whose mother is Nigerian and whose father is white, and a vision of the Brazilian countryside "filled with Black people". But at the heart of the story are two twins, whose ancestors were enslaved on the Strout Estate.When they return to the house, there's "almost a beautiful symmetry", Habila says, "a cycle coming to a close"."You can only imagine that, for them, what it must feel like." To be free people, he continues, knowing their ancestors could never have dreamed of the freedoms that they enjoy today, "that's the contradiction, that's the complexity in American history and the American present, where the past is always in conflict with the present".Some people want to erase the evidence, Habila adds, to "rewrite history. They want to claim that the slaves were actually happier being slaves than Black people are today."The pressure on academics, the new boldness of people in power to say out loud what could only be said before in a whisper is "scary" he says, but he has to go on. "The only thing one can do as an artist is just to remind people and historicise these things and try to turn it into art."Next time, Caroline Clark will be talking about the inevitable pain of the writing life and her short story I Will Go. Hosted on Acast. See acast.com/privacy for more information.

  --------  

  22:53

  --------

  22:53
• Sheyla Smanioto: 'It's a haunted story, where you know something is going to happen'

  This summer series of podcasts has taken us from the snow and ice of AL Kennedy's Expedition Skills to the blunt heat of Ali McClary's Proper Magic, and from the staccato fragments of Pete Segall's Bolex Man to the unstoppable momentum of Dafydd McKimm's The Nosebleed.We bring this season to a close with Sheyla Smanioto and the haunting threat of her short story Intruder, translated by Laura Garmeson and Sophie Lewis.Speaking with the help of the interpreter Jaciara Topley Lira, Smanioto tells us that the story came to her with "almost the last sentence", in a dream where "Somebody was holding me by the throat and saying, 'Look how difficult it will be for me not to kill you when I'm choking you'."She had to deliver that sentence so that she could recreate the feeling she had in the dream, she continues, "And so that's why I needed to trick the reader sometimes."The slippery first-person plural, the sudden switches between the present and the past and the abrupt swerves into dialogue that keep the reader on their toes are also a challenge for the writer."So, in a way," Smanioto adds, "both me and the reader are victims of what the text needed."Pito's bar is midway along the great journey from the country to the city that Smanioto charts in her novel Out of Earth."It's a historical movement," the author says. "It's a movement that brought my family to São Paulo. But when you look at it as a movement, it always looks like it is made up of a mass. But it's never a mass, it's made up of people."The people who make this journey are left with a "specific type of loneliness", Smanioto continues, an emptiness that she has tried to fill with her writing by "creating a culture that was a sort of dream, a memory of the past".Even though she calls herself a "very intellectual" writer, dreams are still central to her work."I have studied technique," Smanioto says, "I'm a literature graduate. But I can't create anything if I don't feel it in my skin first." Hosted on Acast. See acast.com/privacy for more information.

  --------  

  21:52

  --------

  21:52
• Dafydd McKimm: 'I write this kind of story in a bit of a fever'

  This summer, we've heard from AL Kennedy, Pete Segall and Ali McClary. We'll be bringing this series to a close with Sheyla Smanioto, but this time Dafydd McKimm steps into the consulting room with his short story The Nosebleed.McKimm tells us how The Nosebleed was a story that came to him with the ending already in place, citing the translator Michael Hofmann and his notion of Kafka time, where it's "already too late".With this type of story, the author says, "You just set the ball rolling and the characters fruitlessly struggle against the inevitability of that ending."Even though McKimm tries to keep politics out of his stories, it's a notion that feels very 21st century."We do certainly seem to be living in a world where, if it wasn't too late ten years ago, it certainly is too late now," he says. "We might be fighting a losing battle."While the sharp divisions in the bookshop between fantasy and surreal fiction are something of a mirage, McKimm continues, there is still a difference of approach."Even though you might write a secondary-world fantasy, where the world is very different to the world we live in," he explains, "it's going to have dragons or whatever, or magic exists, the tone of the world is very similar. Whereas in a surrealist story, or an absurdist story, it's the feverishness of the tone that is turned up. You turn up the dial on your paranoia, on your madness essentially, your internal madness."Next time we'll be turning up the dial with Sheyla Smanioto and her short story Intruder. Hosted on Acast. See acast.com/privacy for more information.

  --------  

  18:27

  --------

  18:27
• Ali McClary: 'This story started as a conversation between two young women'

  We've already heard from AL Kennedy and Pete Segall in this summer series of podcasts, and we’ll be hearing from Sheyla Smanioto and Dafydd McKimm over the next few weeks. But this time we're summoning up Ali McClary and her short story Proper Magic.McClary confesses that the intense friendship between Min and Hazel is drawn from her own experience."I hope that all girls, all women have these kinds of friendships," she says, "that feel a little bit magic, a little bit disgusting."They may not always end well, McClary continues, "but for those brief moments or those long, hot summers, they're really beautiful, and they're the most important thing in people's lives".The trauma buried at the core of Proper Magic emerged out of the writing process. And it was only when looking back at the story and starting to edit that the author says she realised "how dark and how heavy the secret at the heart of the story is"."When grief hits," McClary explains, "or there's a big cataclysmic event in someone's life, I think it's fairly common that people slip out of reality a little bit. Everything becomes slightly unreal, they see everything with an entirely different lens because the world as they have known it for so long has been completely shattered."We'll be looking beyond the real with Dafydd McKimm next time, and his short story The Nosebleed. Hosted on Acast. See acast.com/privacy for more information.

  --------  

  15:15

  --------

  15:15

More Arts podcasts

Trending Arts podcasts

About Fictionable