LAURA HIRD : Nine inch Nails...

-LH : I’ve always been a prolific letter writer and, whilst a student, lived with a poet and used to type up and send his work to various magazines : I became in the whole process of writing, and rejection slips and I decided to try it myself. Had a few terrible poems published in small magazines. The, went to a Rebel Inc magazine reading with a friend and was impressed with the realism and voices being used. Voices I could recognize.I decided to try to write a story and submitted it to Rebl Inc’s editor, Kevin Williamson. He accepted the story to publish in the magazine, and has subsequently encouraged my writing ever since, ultimately commissioning my short story collection, « Nail », and novel », « Born free » for the Rebel Inc imprint.

-Basic question : was have been your influential writers ? (Self, Welsh, King,.foreigners...)

-LH : As far as getting the courage to write about Edinburgh/Scotland, using dialect and realistic dialog is concerned, Irvine Welsh, James Kelman, Alasdair Gray were enormous influences. I’ve always loved Raymond Carver’s stories-their structure, tiny details of the ordinariness of life, powerful characters. Also, Patricia Highsmith, whose intense, psychological style of writing, and a wonderful reference book she wrote called « Plotting and writing suspence fiction », were very influential to me. Also Zola, Charles Bukowski, Dan Fante, DH Lawrence, Hanif Kureishi, John Fowles, Ian McEwan, and another few thousand. Plus, the hundreds of not-yet-famous writers that fill modern anthologies. Find unpublished writing particularly fresh and inspiring. Also love many screenwriters-Alan Bleasedale, Jimmy McGovern, Todd Solondz, Mike Leigh, Shane Meadows, Paul Laverty, Alan Bennett, etc !

-Can we talk about a Scottish school of modern writers, a before and after Irwine Welsh, for example ?

-LH : Aside from classic Scottish fiction-Burns, Stevenson, Muriel Spark etc, my first sense of a contemporary Scottish literary scene was through the writing of James Kelman, Alasdair Gray, Janice Galloway and Agnes Owens in the late 70’s/early 80’s. Books like « The bus conducter Hines » and « 1982 Janine » were the first time I related completely to characters that were Scottish in a modern sense. I see these writers in particular, as responsible for starting the momentum that ultimately drove the modern, more geographically diverse generation of writers-Ian Banks (Fife), Welsh (Edinburgh), Alan Warner (Argyll), Al Kennedy (Dundee), Ali Smith (Aberdeen), Duncan McLean (Orkney), Gordon Legge (Grangemouth). The media likes to try to put the modern writers into groups, and pretend there are « Edinburgh » schools of writing, for example, but basically, Scottish writing is diverse and the writers, although supportive of each others, tend to work autonomously.

-Why this choice of the short stories first ?

-LH : I initially started by writing short stories. I like the short story form and the fact you have a finished product very quickly, which you can then get feedback on. It’s also a way to experiment with different voices and writing styles. I would have found it too daunting to embark on a novel first, as it’s much more involved and time consuming progress. I wanted to practice my trade first. Short stories allow you to keep practising.

-The short story is the art of concision : more than the fact to « make litterature », your point seems rather to bang your fist on the table ?

-LH : My early stories, in retrospect, probably lack subtletly, but as I’ve just mentioned, they were practice shots. If I were to revisit these stories now, I could probably find other ways to express certain aspects than to continuously go to the jugular. On the other hand, I like the rawness and outspokenness of them. I tend to enjoy reading stories that « shout » at you, so to speak, and enjoy writing them for the same reason.

-Where does your inspiration comes from (own expériences, family and friends stories, or actuality and newspapers ?

-LH : Everything, really. Things from my past, my friends, acquaintances and family’s lives, overheard stories, a sentence in a newspaper, films, music, incidents viewed from buses, dreams, plus running with characters once I have created them !

-Those stories are very violent generally, in facts or thoughts : how do you feel about this debate in which artists (writers, moviemakers, musicians etc) are accused to spread violence with their production ?

-LH : Violence runs throughout life (be it warfare, assault, verbal, emotional, psychological). It’s a fact of life. It is when frustration, ignorance, anger and fear spill over. Artists reflect that violence in their work, rather than instigate it. It is their role to address it. For every person that commits a violent act supposedly due to the influence of a song, book or film, there are a thousand that achieve catharsis through the same work.

-Do the writer have a social role today, and which one ?

-LH : A role to describe the world as they see it, including all the things that will be erased or not addressed by historians. Also, to encourage and promote others to start writing/reading.

-Yesterday, the public writer where translating ideas and thoughts more for love or business than politics, isn’t he today more of a scapegoat for the silent majority and minorities, the one who take the risks ?

-LH : I think because for so many hundred of years, writing was something created by the privileged for the privileged, not everybody was entitled to an education being one of the biggest obstacles. Now that it is much more open, I personally feel compelled to give a voice to people who have in the past been ignored. The great themes such as love, business and politics have been dissected, analysed and have lost the mystique which they used to hold, to such an extent that it is now hard to write about them in the same reverential terms as the past, or without acknowledging some post-cynicism aspects...

-There are 10 stories in this book, as much as nails in the two hands, or the two feet, and very diverse : not only women, but men and children of both sex are the main characters :

was it a deliberate choice or did it come that way ?

-LH : It was not a conscious decision, as I told you, I’ve never really thought about that. The publisher decided to call the collection « Nails ». In the story « Nails », things are growing freely and she has no control over it, she really don’t know what’s happening, she’s uncertain about it.

-Which are, for you, the most sympathetic and the worst of all your characters and why ?

-LH : I think that it’s up to the reader. I have sympathy and affection for all the characters, as I created them, they are almost like naughty children for me ! Even the nastiest characters, ie the female in « Of cats and women » and the mother, Angie, in my novel, « Born free », I fell for, to be honest enjoy playing the monster, when I’m writing them.

-Of which ones do you feel closer yourself ?

-LH : Every character has certain aspects of my personality. At the moment, probably the boy in « Routes », who travels on buses to avoid domestic problems, and watches the world go by from the bus window. Trying to run away, but afraid to run too far. Abrasive as a means of self-preservation...

-What is the link, the thread between all yours stories ?

-LH : The characters, I suppose, are all in situation they have lost control off, or cannot quite deal with. They are all alienated to a degree, usually through letting themselves get into situations. Most of them use humour to get them through their darkest hour, as I think it’s very strong element in Scottish character. They also have a duality, in that they are at times extreme, then the other, also very Scottish.

-James Ballard, the English fantasy writer, told me once that the best look we could have upon a society is through is fiction, and even more in his science fiction and fantasy, rather than realistic writings : what do you think of that ?

-LH : There are many ways to study our society-different genres of fiction being one of them. We also have music, cinema, television, newspapers and magazines, first-hand experience and the freedom to travel and discover for ourselves, internet, advertising, telephone...No one media does it better than the rest. Society is multi-faceted, and so should the ways we choose to interpret it through.

-Maybe he thought that the exacerbated desires and wishes and violence are more evident or easier to describe, and you can say many more things without be interrupted by debates or censorship...

-LH : I agree, but there are many others areas where censorship and debate are not issues. Fiction can promote debate, and should do so.

-What have been the reception of « Nails » in UK ? Did you meet your readers ?

-LH : It was well received. I’ve done many readings and workshops since, so get to meet lots of my readers, who seem to appreciate it. Also, have had people come up to me in the street to say they enjoyed it, people who don’t generally read books, which is flattering !

-You have a novel too, not yet translated : « Born free » : could you tell us more about it ?

-LH : It’s a series of monologues-father, mother, son, daughter, told in consecutive chapters about the effect of the mother’s alcoholism on te rest of the family.

-This novel « born free » is going to be adapted for Scottish television : how do you feel about it and do you think that the different medias are complementary or rather ennemies ?

-LH : Canongate, my publisher, have been in contact with various production companies about possibly adapting it for film or TV but nothing has been finalized yet. Other writers who I’ve discussed experiences of dramatizing book with, seems unanimous that it is a rather savage and shocking process, as they watch the parts they thought were most important ending up on editing room floors, and the parts they thought were weak, emphasized in a way that suggest the opposite of what they meant. I think often, books dramatized for TV end up conveying a message those producing it want to convey, rather than that originally intended by the autor.

-So, what would be the role of the television compared to the book ? To touch more people ?

-LH : It brings your work to the attention of many people, and also TV is not so elitist, in that it is accessible to everyone. It fills in the blanks in the imagination that a book leaves. I don’t see this as a particularly good thing. The reader’s is usually far more colorful and vivid.

-And even if it betray your thoughts...

-TV : That would be horrible, although I know it’s common. I think it is a double-edged sword. Money is a factor, as payment for the TV rights for a book, could allow a writer the financial security to write fiction for 2/3 years more. On the other hand, a terrible adaptation could destroy a writer’s career...

-Today, your book is translated in French, first volume of a new collection called « Desordres » : how do you feel about it ? Does it seems appropriated, do it fits you well?

-LH : I’m delighted that « Nails » has been chosen to launch the Collection Desordres imprint. I have been delighted and overwhelmed by the passion and determination that my French editor, Laurence Viallet has put into seeing the book translated, after having read it several years ago. Without her hard work, the translation may never have happened and I’m indebted to her. Particularly good, was when visiting Paris to promote the book, I found Laurence to be such a kindred spirit. I’m also very flattered and excited to be part of Le Serpent a Plumes as their lists are full of diverse and highly talented writers. All the people involved with the company have a real verve and enthusiasm for writing, which I’m glad to be part of. Plus, I was delighted that the book was translated by Alain Defosse, very well respected translator of American Psycho, etc.

-One of the last stories of the book, about this terrible soldier, is maybe the worst, but the final one is not bad too ; generally, the first and the last stories of a collection gives the general tendency of a book and of his writer : do you agree with this in the case of « Nails » ?

-LH : I did meet my UK editor, Kevin Williamson to discuss what order the stories should go in, at the time, but to be honest, I remember very little about how it was decided. I was still in a dream of disbelief that I was about to have a book published and like a dream, there are bits I simply cannot remember ! In the UK version, the soldier story is the last. Perhaps if a reader read this first, it would scare them off the rest of the book ! I think publishers have more knowledge as to what order they think would be more effective than writers, who are possibly too close to the book to decide...

-What would you do if you weren’t a writer ?

-LH : Prior to writing full-time I had many jobs in offices, administration, betting shops, a classical record shop, canvassing for the Council Tax, temping. If I weren’t a writer, I would probably learn some new skills and try something different. Would love to be a cook !

-What are your musical tastes ?

-LH : My taste in music is completely varied and diverse. A pot-pourri of all the music I’ve loved in my life. As a child, my mother used to take me to opera/ballet/musicals, plus I studied piano, so until the age of about ten, I liked mainly classical. The first cassettes I ever bought were either classical or soundtracks-John Barry, Jaws soundtrack, compilations of classic film themes, orchestral interpretations of popular music. My mother used to rent a room to students, whose music I used to hear through the wall and think, what a terrible noise ! I Now realize they were listening to the Stones/ Queen/classic 70’s bands who I now love ! I lost my « pop virginity » to Abba. I watched them winning the Eurovision song contest in awe, and never looked back. Saturday Night Fever came along soon after, and introduced me to the Bee Gees, and 70’s dance music generally (my uncle also bought me my first Beatles record at this point). From then, I started compulsively collecting 45’s and lp’s, making up for lost time. I developed similar obsessions with other bands, and subsequently bought their entire back-catalogue, demos, promos, coloured-vinyl discs, with my earnings from delivering newspapers. Got into the various genres as they appeared-punk, new wave, ska, reggae, hi-energy...Then adolescence arrived, and from that point, every person I’ve fallen in love with/admired, I’ve also ingested their taste in music, as it give me access to artist/music I wouldn’t otherwise have known existed, in a very personal way-jazz, blues, Tom Waits, Ella Fitzgerald, Eartha Kitt, heavy metal, rock, folk, country, rap, modern dance, Bob Dylan, Frank Zappa, etc etc. Bands I liked, I’d listen to the music that they were reported to be influenced by. Worked saturday’s in a classical record shop for 8 years, the longest saturday job in history ! So through that I was still developing my original love for classical music, due to staff discount. And so, my taste in music has developed, and will till I die. Still find the best ways to discover new music are through friends, lovers, people I admire saying what they like, film soundtracks, juke boxes, new people I meet, new places I go. Also, due to the advent of CD, re-buying my original record collection, plus music going back decades which you can pick up so cheaply, it’s easy to experiment. Love the organic nature of musical taste. Love the way it can express a precise/personal emotion, yet millions of people can feel it is « their » song, irrespective of culture or nationality. It crosses all boundaries. It makes people feel as one. I feel it is the most powerful medium. It is the one thing that advertises itself, by its very nature. It is its own jingle

-Are you a music fan, do you go to gigs etc ?

-LH : I do not like crowds, so this has prevented me going to as many gigs as I’d have liked to. If it’s a band or a singer I really like though, I’ll push myself. I love them when I do go, as gigs and concerts are one-off experiences. As I get older, there’s a joy in meeting new people and discovering that you were at the same gig years ago. Also, when bands are trying out new material, prior to recording a new album and you are at the gig as part of their experiment. When the songs when they are finally recorded, it makes me feel as if I was part of their creation. I’ve been pushing myself recently to go to more gigs, and enjoyed them all. Like football, the audience are a big part of the experience. Also, there is a fantastic new venue opened in Edinburgh, the Corn Exchange, which is very spacious and laid back and perfect for someone suffering from claustrophobia, so I tend to go and see anyone I remotely like when they play there (It’s at the end of my street, also, which makes me even better !) Sadly, many of my favourite bands have already split up, or do not tour very often. Enjoy traveling away for a week end to go to a gig best of all !

-Do you use music when you work ?

-Lh : Most of the stories, plus my novel, I’ve had a particular piece of music I associate with the story/characters, which I play before I start writing each day, to help me get back into their heads again. Find this very effective. Cannot start writing a character until I know what their favourite music is. Also helps sustain mood within a piece of writing.

-What are your next projects ?

-LH : At the moment, I’m working on a new short story collection and novel, commissioned by Canongate. Also, a number of stories for various anthologies, and a screenplay project through the Liverpool WOW festival with Jimmy McGovern, Irvine Welsh, Chrissie Glazebrook and Kevin Sampson.

(interview by Jean Paul Coillard)