Bernard MacLaverty: The story you have just finished is of little help to writing the next one

Acclaimed Northern Irish writer Bernard MacLaverty has taken 16 times to finish his latest novel. A plenty of things just got in accordance with the rules, he says

In his jacket endorsement for Bernard MacLavertys Midwinter Break , the celebrated American novelist Richard Ford describes the new journal as much-anticipated. It is a polite course of went on to say that MacLavertys fifth novel has been taken its time in coming. Sixteen times, to be precise, since his last, The Anatomy School , and longer still if you go back to the honour days of the 1980 s and 1990 s when this Belfast-born but Glasgow-based writer was everywhere, winning plaudits and prizes in equal evaluate for his short story collectings (< em> A Time to Dance , Walking the Dog and The Great Profundo ), his novels Cal and Lamb , both of which he adapted as acclaimed films starring respectively Helen Mirren and Liam Neeson, his television series and radio plays, and his Booker-shortlisted Grace Notes in 1997.

A case of novelists block? More life getting in accordance with the rules of art, MacLaverty answers, perched nervously on the edge of his armchair in a central London hotel as we spoke. I have a diary mention from 2001, when Madeline[ his wife] and I went to Amsterdam for a break in January. So I presume I was starting to think about development projects from there, but there were so many things that came along to get in the way.

Among the distractions he lists and this affable and unassuming 74 -year-old has a prompt sheet to hand were: an un-turn-downable summon from Scottish Opera to write a libretto; two years as a classical music DJ on Radio Scotland; a five-year stint on a movie script based on Robin Jenkinss marvelous 1950 s novel, The Cone Gatherers , which ultimately came to nought when individual producers behind the project died; a collecting of short narratives; and Bye-Child , a Bafta-nominated short movie of a poem by his close friend Seamus Heaney, which he directed in 2003.

And, he adds, Ive likewise had eight grandchildren in that time. Or we have. His four grown-up infants, two boys, two girls, all live in the same postcode as he does, so “hes having” his hands full. Its a brand-new twisting on Cyril Connollys line about the pram in the dormitory being the foe of good art.

MacLaverty would be the last one to take himself so seriously, but his brief run through those 16 lost years reveals him as a man of many talents to which should be also added teach stints at British, European and American universities. With so much he is good at, what would he pick if he had only occasion left for one more project? Id paint something good, he answers without a pause.

No hint of any autumnal narrowing of scopes here, but Midwinter Break is, by compare, a narration of quiet letdown, about long-married Gerry Gilmore, a retired architect, and his wife Stella, as they head off on a mini-break. Both are at odds with their heap and with one another. He is retreating into drink, she into religion.

She is thinking, MacLaverty announces, on a different plain. This is not a tale about old people. Its the story of two young people who got old-time and they have fallen out of step.

A two-hander, it encompasses the same broad-spectrum territory as 45 Years , the 2015 Tom Courtenay/ Charlotte Rampling movie, based on a David Constantine short story. In the case of vehicles of Midwinter Break , though, the past trauma that haunts the couple is bound up in the Troubles in Northern Ireland, which they moved to Scotland to escape.

The similarities with MacLavertys life are plain. In 1974, he, too, stimulated the same refugee journey with his young household. The Trouble were frightful and bloody, he remembers, bombs and people being killed on their doorsteps.

His homeland, though, continue to remain loom large-scale in the books he has published in exile. You write from what you know, and one of the things you know is that you are not telling your own narrative, but chips of it are your own tale. Its like tessellation of a mosaic. You take a bit that happened to you and you set it beside a little bit that you make up.

It requires a delicate touch, he emphasises, and can be a time-consuming process. We are perimeter back around to that long room between novels but now he is more willing to address what has been preventing me back. Whatever backdrop, or even tone his books may share, he explains, the tale you have just finished is of little help to writing the next one. He quotes Thomas Mann in his defence. Didnt he reply, a columnist is person for whom writing is more difficult than it is for other people?

There was at least one false start with Midwinter Break , he declares, with an opening section, set in the now derelict modernist Catholic seminary at Cardross in Argyll and Bute, that had to be scrapped.

Is he a perfectionist? MacLaverty makes a very warm, intimate chuckle. Im a columnist. Theyre the same thing.

Religion is one feature of his novels. Though he long ago rejected the Catholicism of his childhood, it continues to fuel his imagination. I cease to believe in one facet of it, but I continue to believe in the trappings.

Another hallmark is the spareness of his writing , not a wasted word or detail between the embraces of what become as a result small masterpieces. Its not like putting together Lego, he agrees. You have to be very careful that you are weighing the words.

The phrase constructs him remember something his mother once use. Shed discovered a wee dead fowl. She picked it up and she said, youd have known by the load of it that it was dead. He chuckles. And its the same with a tale. You know whether you are able to attain it in six pages[ as a short story] or whether the government has will take 200. And this one he points to the copy of Midwinter Break on the table between us is hefty substance. It is about love and life and death and belief and what matters.

And then, of course, theres his other recurring topic, Ireland. All the fictions nod to what is happening to Ireland, he concurs. Lamb [ 1980] was at the worst of the Troubles. Cal [ 1983] likewise had a downbeat pointing, but then there were the ceasefires and things began to mend. So Grace Notes had an upbeat middle-of-the-road, and a downbeat demise, or two endings. I was hedging my stakes. And this one well, I mustnt say more about the ending, but Im mildly optimistic about Ireland. I dont think they are going to go back to slaying each other.

Midwinter Break by Bernard MacLaverty will be issued by Jonathan Cape on 3 August( 14.99 ). To order a imitate for 12.74 going to see bookshop.theguardian.com or call 0330 333 6846. Free UK p& p over 10, online orders only. Phone orderings min p& p of 1.99

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