Tagged: cynan jones
AmeriCymru spoke to Welsh author Cynan Jones about his contribution to the Seren New Tales From The Mabinogion Series - ''Bird,Blood,Snow''. In re-imagining this myth for a contemporary audience Cynan Jones has adopted for his hero the juvenile terror and scourge of a modern council estate. Read our review here
Author of Bird,Blood,Snow
Read our previous interview with Cynan Jones
Other Titles by Cynan Jones
Everything I Found on the Beach
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AmeriCymru: Hi Cynan and many thanks for agreeing to be interviewed by AmeriCymru. Care to tell us a little about your latest book ''Bird,Blood,Snow''?
Cynan: Bird, Blood Snow is different. Bird, Blood, Snow is a bicycle kick. By that I mean the process of writing it was instinctive and spontaneous.
It''s a re-telling of an ancient Welsh myth. More accurately, an Arthurian myth. It''s part of the New Stories from the Mabinogion series.
Seren formally approached me with the commission in November last year (''11), then we had to wait for the funding process to run through before they confirmed in March.
The book was scheduled for October 2013, which would give me plenty of time. Then at the end of March, Seren asked whether I could hit the slot for this year. I said yes. Which effectively left me three months to deliver the book. That certainly fed into the eclectic approach I took.
AmeriCymru: The book is based on the Mabinogion Peredur tale. How would you describe ''Peredur'' for anyone who is not acquainted with it?
Cynan: I was the last author to be approached for the series and Peredur was the only tale left. There were good reasons why. It''s narratively disjointed, the imagery that thunders through most of the other tales is scant, and its allegories are uncertain of themselves.
It tells the tale of a youth bent on recognition in King Arthur''s court. He leaves the isolated home his mother has removed him to in the hope he won''t follow his father and brother''s into a violent life; then he tries to draw attention to himself through a series of violent acts in Arthur''s name. That''s it in its simplest terms.
AmeriCymru: How difficult was it to re-imagine for a modern audience?
Cynan: As I''ve said, it was a bicycle kick. That''s evidently a very difficult skill, but it''s something you do without thinking in some ways. You don''t think of the difficulty, or the physics of it. You just go for it. It''s in retrospect you think... wow. Ok...
If the time scale for delivery had not changed it''s likely I would have done something much more in line with my other writing. It was good I didn''t.
AmeriCymru: Peredur, as cast in ''Bird,Blood,Snow'', is not a sympathetic character and his ''biographer'' is dismissed for having attempted to romanticize him. Do you think he has any redeeming qualities?
Cynan: He is immune to mildness. That might be regarded a redeeming quality. And he is self aware. He is violent with great target, rather than disruptive. But he doesn''t want to be redeemed. He openly admits to living in his own little world. He''s not bothered about integrating himself into society.
It''s interesting to write a character who is essentially vicious but meanwhile make him compelling. You don''t have a sympathy for him but his honesty is magnetic.
AmeriCymru: You say in your Afterword that the Peredur story is an early unfinished version of the medieval ''questing'' tale. Care to elaborate?
Cynan: This is purely my reaction to it. The Mabinogion tales were originally oral stories. Given that, there would have been great opportunity to alter the tales, to introduce contemporary factors and influences.
I wonder to what degree the Peredur tale came about because of an emerging fashion for Arthurian myth. Storytellers would have been requested to relate certain types of story, so would need to react to new trends much in the way film makers nowadays do.
My feeling is the Peredur myth had not actually formalised into a set story at the time the tales came to be written down in around the 1300s / 1400s.
But once you write something down you essentially fossilise it. If that process happens wrongly, the fossil is imperfect, scattered. It has to be pieced back together by the reader. The fact there are several disparate versions of the Peredur tale supports the guess.
AmeriCymru: What is the ultimate goal of Peredur''s quest in ''Bird,Blood,Snow''?
Cynan: Acknowledgement.
AmeriCymru: What''s next for Cynan Jones? Any new books planned or in the works?
Cynan: There''s a new book in the mix. It''s ready to go to publishers.
Meanwhile, I''m looking forward to getting on to the next story. It''s gestating a the moment. Hopefully I''ll begin early next year. It won''t be as lunatic as this one.
AmeriCymru: Any final message for the readers and members of AmeriCymru?
Cynan: Thanks for the continued enthusiasm. Also, there''s a quest within the book. I''d like to invite readers to dig about in the story a bit, do some archaeology. I''ve buried several artefacts from other texts. Some more easy to uncover than others. But do get in touch if you think you''ve found something!
Interview by Ceri Shaw Ceri Shaw on Google+
Award winning Welsh writer Cynan Jones pens the latest addition to Seren''s critically acclaimed series:- New Stories From The Mabinogion
Read our interview with Cynan Jones
Other Titles by Cynan Jones
The Long Dry Everything I Found At The Beach
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As befits any retelling of the Mabinogion ''Peredur'' story this is a grim and sanguinary tale. The original revolves around the hero''s attempts to win favour and esteem at the medieval court of King Arthur.
In re-imagining this myth for a contemporary audience Cynan Jones has adopted for his hero the juvenile terror and scourge of a modern council estate. No mere ASBO, we follow with horror as Peredur graduates from juvenile delinquency to the status of full blown adult psychopath. In the Afterword Cynan speculates that ''Peredur'' is an early, fragmentary and unfinished example of the medieval questing tale. Consequently the story is related by means of a series of testimonies, police and psychiatric reports and occasional press clippings. There is also a sprinkling of handwritten notes left by the protagonist and excerpts from an unnamed ''biographer'' who has ".....hijacked Peredur, tried to mythologise him".
These different perspectives are woven together skilfully to ensure a seemless narrative flow which is never jarring or disconsonant.
At age eight Peredur is the topic du jour at a local police planning conference:-
"All growed up. Oh well. At least he''s livened things up a bit. We were in need of some entertainment....what do you do with a f****** eight year old who sticks a f****** stick in someone''s eye?"
Later in his career of infamy he is interviewed by his biographer and reveals that:-
"...You can get a person all slopey with a collar bone, easy with something heavy. Not highly technical. Good, satisfying crunch when they go. Ribs are tricky. Sometimes they go, sometimes they dont. You kind of know when you''ve popped a lung though; easily confused mind with a cracked sternum: either way f****** cant breath."
The attempt to mythologize and romanticize Peredur referred to in the opening letter to the editor consists of a series of psuedo Nietzschean ramblings which, whilst they may throw some light on the internal workings of a diseased mind, do very little to make the character any more sympathetic:-
"Usually people make peace with the world and work out compromises so that the two will not hurt each other badly.
Well, some few do not make peace. And some of these are locked away as hopelessly insane and full of fantasy.
I know full well I choose now, one way or another, whether to climb aboard, let myself be spun up in my delusion: in the speed and whirl of it. Let the world of my merry go round turn into a blur. It''s all choice. That''s what the sane sometimes don''t recognize....."
All in all this is a ghastly tale superbly well told. Not for the squeamish it is a must read for anyone with a taste for Welsh noir.It might also serve as a reminder to some that the tales of the Mabinogion have little to do with unicorns, fairy tale castles and damsels in distress.They are often accounts of ghastly and murderous events justified by a barbaric pre Roman, dark age and medieval warrior ideology. And of course.....none the worse for that.
Review by Ceri Shaw
Book Details
Available in Paperback
Cynan Jones lives near Aberaeron in West Wales. His first book, 'The Long Dry 'was published in June 2006. The novel , which won a Betty Trask Award in 2007 is set on a Mid Wales farm. His second book 'Everything I Found on The beach' is also set in West and North Wales. AmeriCymru spoke to Cynan recently about his novels and his plans for the future.
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C ynan : I find it difficult to be around good things without wanting to try and do something good myself. If I eat amazing food, I want to learn to cook. Reading amazing books probably made me want to write, way back. But in terms of inspiration, I think the question is mostly asked the wrong way round. I didn't get 'inspired to be a writer.' A person is inspired, and they find an outlet for that. Be it chefing, or excellence in sport, or writing. It's driven by a great love of a thing and the consequent desire to want to do it well.
AmeriCymru: Your first book 'After The Factory' is somewhat difficult to find. Care to tell us a little more about it and whether it will become more easily obtainable in the future?
Cynan: 'After the Factory' tells the story of Joseph Napoleon, a factory worker who comes home every night to his basement flat and, while trying to sleep, imagines the characters behind the footsteps that echo across the square outside his room.
It's a short work, but one that readers seem to like very much. It's very different from the two 'Welsh' novels. I'm hoping there will be some news on the 'After the Factory' front soon. I'll keep you posted.
AmeriCymru: In both your subsequent books:- 'Everything I Found on The Beach' and 'The Long Dry' the central characters life and circumstances are revealed through an intimate connection with their surroundings. How important is a sense of 'place' in your writing?
Cynan: A good story should work even when it's lifted out of its setting - I'm talking about the key themes, the big motors of the thing. This is how great 'universal' tales are built, even when they are humble like 'The Old Man and the Sea'. But creating a sense of place is akin to setting the spell, making a world for a reader. It happens that the main characters are very linked to their environments in both these stories so the sense of place is vital. It's the environment I grew up in and am very close to. While I haven't written that intimacy in deliberately, its picked up majorly by readers.
AmeriCymru: You live in West Wales and your books reveal a strong familiarity with the rural lifestyle. What is your background? What did you do before you became a writer?
Cynan: I grew up in West Wales and returned to live here at twenty eight after a stint in Glasgow working as a freelance copywriter. I grew up very close to my grandparents' farm, so spent most of my time there. The farm was small, sixty acres or so. But it had woods, fields and scrubland, and ran right down to a beach. It had an incredible range of places to play. I don't think I ever outgrew that. All I'm doing now really is playing made up games like I did when I was a kid. Just I'm writing things down rather than running round playing them.
Before now I've been a substitute teacher, mentored in a behavioural unit, worked on building sites and as a wine presenter. I've worked in aquariums, and in a kitchen. All sorts. I've done whatever it took to get by without getting tied up in a contract which wouldn't let me drop out to work on a book when I needed to.
AmeriCymru: Care to tell us a little more about The Long Dry . What can readers expect to find? How would you describe the book?
Cynan: The Long Dry is the story of a bad day that gets worse. A calving cow goes missing, and the farmer has to try and find it. He is meanwhile beset by doubts and questions.I wrote it very quickly (in ten days) and immediately knew it was the strongest thing I was capable of at the time. That was back in 2005. It was accepted for publication relatively soon after I wrote it. It went on to win a Society of Authors first novel award, and has been translated into French, Arabic and Italian. It is ostensibly a very simple thing, but people say it's very strong.
AmeriCymru: Everything I Found on The Beach paints a grim picture of life in rural West Wales. How has the area been affected by the current economic hard times?
Cynan: In some ways there hasn't been a major 'boom' here, so we're not as badly affected as those places that grew and swelled with the prior injection of affluence. Statistically, people here earn considerably less than the average wage, and house prices are higher than near anywhere in the UK as compared to earnings, (because of the huge second home market). In terms of jobs, there's not much to do. There's farming, but on small family run farms that are increasingly unfeasible. There's some factory work in relatively small factories. There's a university and hospital in Aberystwyth and lots of seasonal work in tourism related industries. The local authority is a major employer. But the quality of life if good. If you use and appreciate this area, it pays back. You don't need vast amounts to exist. The grim element perhaps comes from the limited choices here.AmeriCymru: How difficult is it for Welsh writers to get published and to succeed these days?
Cynan: It is simply difficult to get published, Welsh or not. (You could even argue it's easier when you're Welsh, particularly writing in Welsh, because of the funding that makes that process possible).
When I decided to write I said to myself: write as strongly as you can, everything else is a side effect. I've stuck by that. However, the key thing now is visibility. Breaking through the London-dominated media wall is difficult, and perhaps they don't take Welsh publishers as seriously as they should. In France and Italy my work had big reviews in major newspapers, with some extraordinary critical acclaim. The next step, as well as continuing to write strongly, is to get that attention on my own turf.
AmeriCymru: What do you read for pleasure? Any recommendations?
Cynan: I read massive amounts. Writers like Steinbeck, McCarthy, Carver and so on are on a different level. Brink, Coetze. Graham Greene, Orwell. The great writers. When you write yourself, the quality of the writing has to be very very high. For something more recent, try 'The Solitude of Thomas Cave' by Georgina Harding.
AmeriCymru: What's next for Cynan Jones? What are you working on currently?
Cynan: There's a new novel on the desk right now. Come the end of January, I'll start work on the final draft. It's called 'Traces of People.'
AmeriCymru: Any final message for the readers and members of AmeriCymru?
Cynan: Keep reading! When you read something you like, tell everyone!
