Journal

Into the Unknown

30 November 2016

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Three weeks ago, I went for a morning walk through brittle fields and forests to say goodbye to my new surroundings. This was my seventh home since I moved out at eighteen, not including the temporary homes abroad or the stopovers at my mother’s house in-between. I have grown into my father’s restlessness and curiosity. Sometimes I wonder if I will ever settle down, but then I remind myself that it doesn’t matter. Home is wherever I am present.

In a month, I will be heading to Scotland to volunteer at the edge of the Highlands. After four years of overworking, I am letting myself slow down for real. Less but more regular hours of volunteering and only a little freelance work with generous deadlines. Finally, there will be time to write, explore and breathe without the guilt of constantly falling behind.

Next year will be another practice in letting go, with a one-way ticket to Edinburgh and a promise to return by land. Eventually. After the end of February, there are no fixed plans apart from a London theatre ticket and some loose ideas. This time, I want to make room for things to fall into place without interfering.

This autumn stirred me awake. Stripped me bare and dressed me in frost before I could brace myself for the cold. I see the world behind my schedules. Some nights the state of it keeps sleep away, my mind spinning with calculations, grasping for solutions or at least a clue to nudge me in the right direction, to tell me where to go and how to help.

I know I have to let go of this, too. Let go and trust that when I do, I will find out.
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Interviews

A Nice Place to Get Lost:
An Interview with Joni Niemelä

26 November 2016

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In The Gift of Looking Closely, the novel I have translated and published, the main character Claire buys a camera to capture the world from a different perspective.

‘I want to open a window into a place where colours are like jewels.
I want to make small things so big they become a whole world.
I want to surround myself in a peel of bark. Wrap myself in a leaf. See the moss like a forest.
I want an ant-sized view.’

The element of macro photography is like a symbol for the whole novel, which explores new perspectives both through the quite unusual narrative point of view and through the different ways in which the characters look at reality.

The other day, a reader described this so well: ‘To me, the magical thing about this book wasn’t the story as such, but rather what happens beneath the surface. It is a book that calls for you to slow down and really see what happens in the tiny details.’

When I made the cover for the Swedish translation, the author Al Brookes and I agreed to look for a nature-themed close-up photograph, since nature is another important theme in the book. I stumbled upon the extraordinary macro photographs of Finish nature photographer Joni Niemelä around the same time as Al asked if I could find a picture of curled up fern. When I found ‘Unfurling’ we were both hooked.

I have interviewed Joni Niemelä about his passion for photography, nature and the tiny details around us.


dsc_1121_editedWho is Joni Niemelä?

I’m a self-taught fine art nature photographer based in Southern Ostrobothnia, Finland. I’ve been capturing the world around me for over a decade now. Though I like to photograph various things in nature my favourite subjects are the world of macro and those little details that usually get unnoticed.

You started photographing when you were quite young. What made you explore photography as a creative medium?

At first I just wanted to save those moments in nature for myself but after a while I began to share my work and noticed that other people do also like to see my work. Since then my camera has been always been with me in nature saving the details and moments. I think photography is an easy medium to approach for people and you can always find something new to learn about it. Macro photography opened a whole new world to me and I’m still exploring it.

What does nature mean to you?

Nature is a huge part of my life and my photographic works. You can always enjoy it even if you don’t get any images. Many have lost the connection to nature now days so hopefully my images will also make it more interesting for the viewers and that way reconnect with the nature.

How do you think being a photographer affects the way you look at the world?

I’m definitely looking the light and the details around me – not all the time but I do notice it some times even if I don’t carry my camera with me.

Could you share a few of your most memorable moments as a photographer?

I don’t think there’s any single moment but I do remember really well all of those misty mornings especially in the fall. Something familiar can transform so greatly when the thick mist rises and hides your surrounding showing only some details around and near you.

Another one is of course the tiny world of macro. When shooting these kind of images my mind is so focused on the subject that you forget everything else around me. It’s a nice place to get lost.

skarmavbild-2016-11-23-kl-21-01-04Do you remember shooting ‘Unfurling’, the photograph used as the cover image for Det som andra inte ser?

Shooting rising ferns in the spring one of those things that have become kind of an ritual for me. These plants are one of the first ones to rise off the ground after the winter and photographing these is a great transfer from the cold white winter scenes to a more green ones. I remember taking images of this particular plant for over couple of hours from different perspectives and found this one to be most successful one. I’ll maybe release a photo series of these some day when I have enough images of this theme.

What is the most important lesson you have learnt through your creative work?

I think it’s important trying to do your own thing – finding and evolving your style.

What are you looking forward to right now?

Well the summer is now gone and also the fall is coming to an end so I’m really waiting the winter. Hopefully we will have a lot of snow this winter.

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You can find more of Joni Niemelä’s work on Instagram and Facebook, and all of his photographs are available as a prints or for commercial licensing on his website.

Journal

Roots

18 November 2016

We grow like trees,
blanket the earth,
interlace our roots
through the storm.

Catch the winter
with bare branches.
Grow another layer
to stay warm.

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Interviews

I Want You to See What I See:
An Interview with Al Brookes

16 November 2016

portrait-3In the autumn of 2014, I read the first pages of The Gift of Looking Closely and fell in love with Al Brookes’s way of looking at the world. Two years and hundreds of hours of work later, my translation of her novel is slowly finding its way to Swedish readers. A few weeks ago, I did a short interview with Al for a book club guide, and I thought I might share it with you.


You wrote The Gift of Looking Closely in second person, daring the reader to really look at the world through Claire’s eyes. In which ways was it different to write a story from this perspective? Did it make the story more intense for you as a writer as well?

It felt like a very natural way for me to write, much more natural for me than the more common first or third person. As for making it more intense – yes. Writing ‘you’ all the time made me feel intensely connected to the reader as I was writing it. Like I was telling the story intimately, to just one person.

The forest and the nursery where Claire works are important settings in the novel. What does nature mean to you and how has it influenced your writing?

There is nothing more beautiful than nature, is there? Especially close-up. So I’d say nature has challenged me to find the words to share how I see it. I want you to see what I see.

When did you decide to include the element of ghosts in the novel? Did you plan this from the beginning or did they turn up along the way?

I hadn’t planned the ghosts. Nanny Bee turned up first and then the others followed. To be honest, even after finishing the novel, I am still undecided about whether Claire actually sees the ghosts or simply invents them – might they be the strange imaginary friends of an only child? I don’t know.

What were the greatest challenges and joys of writing The Gift of Looking Closely – and why did it take ten years to finish it?

The hardest challenge was that I was already working as a freelance writer, meeting deadlines, often under pressure. It was often very difficult to summon up the creative energy to do even more writing in my free time. That’s one of the reasons it took so long to write. Another was that as it was my first novel – and I had no experience of finishing a novel before – I don’t think I ever really quite believed it could be finished… Or perhaps I wasn’t ready to become the person who had written a book, rather than the person who was still writing one. Finishing it was a great joy. Hearing from people who loved reading it is a great joy.

Around the time you finished The Gift of Looking closely, you were given a diagnosis of cancer. What was it like to release a book while fighting cancer?

Having cancer was a big motivator for me. I didn’t want to leave the planet without making my book real, without sending it out into the world. I’m grateful for the way the diagnosis focused me on what was important. I’m grateful to be completely well again now.

Could you tell me about your writing group and in which ways you support each other?

The group came together because we had all been studying creative writing together on a two-year course at Sussex University. When the course ended, we were very keen to carry on supporting one another, and we’ve been getting together now for about 15 years. We write together, taking turns to come up with exercises. And we listen to one another’s latest work. I have to admit that we don’t work as hard at it now as we once did – we used to rigorously critique each other’s work. Now we tend to provide encouragement more than criticism, cheering each other on to write as much as possible!

In which way has your relationship to writing evolved over the years?

I remember writing as a child as a much easier process – the words came readily and I was unself-conscious. Writing for a living really stifled that spontaneity. Every word had to be considered and reconsidered. I managed to unlearn some of that whilst writing The Gift of Looking Closely, but I feel I have some way to go in the process of reclaiming a more risky, less considered voice. I’m hoping to give that freer reign in the second novel.

What are you looking forward to right now?

I’m excited about the next book – I love the plot that is revealing itself and the quirky characters. I’m looking forward to finding it easier to write than the first one!

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Al’s writing desk


You can read more about Al Brookes on her website and  The Gift of Looking Closely can be purchased as a paperback or an e-book on Amazon. My Swedish translation of the novel, Det som andra inte ser, was published in September 2016.

Next week, I will share an interview with Finish photographer Joni Niemelä, who shot the beautiful cover photo for Det som andra inte ser.

Journal

In Transition

7 November 2016

As the air grew crisper, the leaves and I let go. Falling softly. In a way, still falling. Not sure yet where to land. Just stretching our arms towards the earth, trusting that somehow, it will catch us.img_6220img_5756img_5754img_5755img_5757img_6161img_5758img_6249img_5759