We have heard it said many times in recent years that the number of published books is increasing, but the number of readers is decreasing. That may be true. But it is also true that the number of good books is also on the decrease.
This is precisely why the publication of a good novel like The Iron Curtain by Vesna Goldsworthy is a celebration for passionate readers.
It did not take long before the novel by this Belgrade-born writer with a permanent address in the United Kingdom was selected as the book of the month by The Independent, had a glowing review in The Times, and received the Momo Kapor Award in Serbia.
Vesna Goldsworthy spoke in her interview with Kurir about the award, the novel, writing, living in the UK, and her former work at the BBC, as well as about today's turbulent and divided world.
Your novel The Iron Curtain (published in Serbia by Geopoetika) is beyond any doubt a 2022 must-read. In addition to great reviews and the award, this is further corroborated by the fact that it is already sold out at many bookstores in Belgrade. How do you cope with such success? Is it difficult to write a good novel?
"Writing is enjoyable, and yet each novel has a difficult path to travel from an idea to its final version. With all the work-related and family obligations, it takes me at least two to three years. And when I hand in the manuscript and think it's over, that's when work starts that may last for months. You have proof-reading, collaborating with the translators, the publicity that demands a hundred short pieces from the writer. You often think to yourself, 'Did I really need this? Wouldn't it be better to be somewhere by the Thames, with a glass of wine and in good company?' But I'm bad company to myself when I'm not writing. Success isn't key there, although I do like to see shopwindows full of my books. I also know it's all the luck of the draw. There are hundreds of novels out there – published but never noticed."
What does Momo Kapor mean to you? The award you received in Belgrade last month bears his name.
"Writers working between two cultures are in danger of being forgotten by both. The Momo Kapor Award is the first recognition that I have received in my home country. That means a lot. Momo Kapor is a writer whose books I used to read in high school. Although I've never met him, there's an interesting family connection between us. His paternal uncle Mirko introduced my grandfather Petar to my grandmother Zorka nearly one hundred years ago."
Did you want this novel to primarily tear down or interrogate some of the myths that people are in thrall to? Are you bothered by idealizations of all things Western?
"All of my literary work, since Inventing Ruritania, is dedicated to the myths of the East and the West. In that book, I analysed literally hundreds of novels and films about the 'primitive', 'wild Balkans': these are stereotypes that have affected us quite badly. In The Iron Curtain, the focus is on the illusions that we had about the West before 1989 – still entertained by many – but the novel doesn't idealize the countries in the east of Europe, from which people fled desperately, if they were able to. Nonetheless, Yugoslavia wasn't one of them."
How big a responsibility is it to be the first Serbian woman of letters to be elected as a Fellow of the UK Royal Society of Literature? For those who don't know, how does one become a fellow?
"It is a great honour, in the sense that the membership has included the leading names in literature for two centuries now, and my signature, written with Byron's pen, will remain forever in that roll book. The whole process is conducted in secret. Firstly, two Society members need to nominate you. They are then asked to provide a statement of reasons relating to your work, which is then put to a secret vote. I feel a responsibility both towards these unknown nominators and the institution itself, and as a writer mediating between two cultures whose worldviews are often at variance with each other."
You have lived in London since the 1980s, worked as a journalist at the BBC, and now you teach at university. How hard was it for you to change the negative image of Serbia that was dominant in the West since the 1990s war?
"It wasn't easy, but I couldn't have done any differently. At the same time, I've never justified everything that Serbia does. That is the task of the Serbian diplomacy, not mine. I was primarily interested in the historical prejudices that existed before the 1990s, which are perhaps more cultural than political, and which nonetheless affected the British perception of the 1990s. I've written a bit about the Serbian prejudices against the British. They have fewer practical consequences, but there's quite a lot to be said about that as well."
You are a professor at Exeter and East Anglia universities. What is the most important lesson/advice that you have for your students?
"When I taught English literature, it was important for me to point out to them how fascinating translated literature is. People write in English everywhere, from Canada to New Zealand, so they often don't feel the need to look any further. They think translation is a second-rate sort of thing. Ever since I've started teaching creative writing, I find it's hardest to strike a balance between dreams of success and the slim chances of writing for a living. It's no good if talented people get discouraged and give up, as well as if they dream of being literary billionaires like the author of Harry Potter."
We live in a deeply divided world and hear the claims that the world will never be the same. Is there perhaps a new iron curtain in store for us?
"Not only is it not just in store, it's already descending, but more to the east than the previous one. I just hope that it won't fall hard upon Serbia, where the people are deeply divided over what was going on in the 1990s. I don't envy Serbian politicians. It was similar in the UK during the Brexit vote, and the trauma of these divisions is still there. Many of my friends who were in favour of remaining in the European community – and that's a huge majority in universities – didn't even want to speak anymore to those who voted to leave. Many people haven't forgiven David Cameron yet for calling the referendum in the first place."
(Kurir.rs/Boban Karović)