Richard Morgan is well known name not only on the world SF scene, but also in Bulgaria. His latest SF novel Black Man/Thirteen (published in Bg as Variant 13) has recently won the Arthur Clarke award. After that Morgan switched genres with his newest book - The Steel Remains. Opinions about it vary, but they unanimously agree that it's a really provocative Fantasy story. Mr. Morgan has kindly agreed to do an interview with ShadowDance in which you may read his thoughts on the art of translation, political correctness and his future plans.
Richard Morgan: Well, that is always a risk, yes. But I guess you’ve got to assume your various publishers know what they’re doing with the market – I don’t imagine they want to sell less of my books! Supercommando does sound a little off-centre for the subject matter of Altered Carbon, but I suppose in very broad terms it does describe Kovacs, more or less. So I don’t know – you tell me. Am I popular in
SD: Regarding Altered Carbon, it was indeed very successful. One could say the book made you popular in
RM: I think a translator should be free to adapt *stylistically* as much as they like, ie to re-shape the language as much as necessary to convey a fluid and idiomatic translation – that is after all what being a good translator entails. But once it comes to changing the *substance* of the text, I'm very much against the idea; it seems to me that such a step simply leaves too much room for abuse. You'd have dictatorial regimes everywhere only allowing "authorised" versions of books that didn't upset their political and cultural world view, and individual translators or publishers deciding that they knew better than the author how some aspect of the novel should be developed. And the worst of it would be that people would be unaware of the trick. They'd truly believe they were reading what the author intended them to read – which might in some ways protect them from culture shock, or make them like the book more than they otherwise might, but that isn't the point. Once you start to do this kind of thing, the book ceases to be a translation and can only really be described as "an adaptation", and – unless you label it clearly as such, in which case I don't think many people would buy it – that strikes me as fundamentally dishonest. The point is, you can't – or at least shouldn't – interfere with the original author's communication; that message has to be transmitted as accurately as possible, for better or for worse.
SD: Can you tell us anything about the forthcoming Altered Carbon movie?
RM: No, not really. Or at least, I can’t tell you much. It’s still in the works, still grinding through the
SD: Should we expect more Takeshi Kovacs novels?
RM: Not for the foreseeable future, no. First and foremost, that’s because I now have a stack of other work to pursue. But also, my problem after Woken Furies was that I couldn’t see where else to take the character that wouldn’t just be a re-tread of previous work. I hate the idea of turning into a genre series hack, churning out endless, soulless clones of the same book year after year – and with Kovacs that looked to me like a very real danger. That said, if I ever find a way to bring him back with any credibility, I’ll do it. I miss the old bastard as much as anyone!
SD: The city of
RM: No, I don’t recall
SD: The Speculative Fiction genre constantly conquers new territories not only with the help of highly regarded "mainstream" authors like Murakami, Cunningham, Pyncheon and McCarthy, but also thanks to SFF authors like Mieville, Vandermeer, Duncan, Gaiman etc. Do you think this is a sign for what literature is going to look like in the near future?
RM: Well, I certainly hope so. There’s no doubt that, as a genre, SFF is better poised than most other types of literature to take on the 21st century – more than ever before, we live in science fictional times. And yes, novels by the genre writers you mention (and you should include Geoff Ryman in that list as well) are increasingly offering a bridge into a more generalized literary terrain. But at the same time, it’s important to realize that snobbery and hierarchical dynamics are an endemic part of human nature, so the attitude of the mainstream critical establishment isn’t likely to shift very fast. Those guys don’t want to accept SFF as valid fiction, because too much of their own sense of superiority is bound up in their attitude. That kind of thing, like any other type of knee-jerk prejudice, is very hard to beat. So guys like Murakami and Pynchon will continue to be defined as mainstream literature, however solidly they lean on the staples of the SFF field. And the rest of us will continue to be disparaged in literary circles as something less than valid. It’s a dynamic that has nothing to do with what’s really happening, and everything to do with how people want to see things. But what’s really happening is, yes, a loosening of the boundaries between genres, and that can only be a good thing.
SD: Do you think that the settled and secure life that most contemporary writers live weakens their ability to write dynamic stories? Is it necessary for a person to have lived through a real adventure, to be able to describe one convincingly?
RM: Not at all. This is fiction we’re talking about. Writing good fiction is a skill-set, and at base what it really amounts to is the art of telling convincing lies in narrative form. Climbing mountains, robbing banks, killing people with a knife or an assault rifle – these are other, entirely different skill-sets, and the fact you’re good at one or more of these activities is no kind of guarantee you’ll be any good at telling the story of how you did it afterwards. In fact, I can remember reading one book written by a famous mountaineer about his experiences and being surprised at how dull he managed to make it all seem. The things he’d been through ought to have been riveting, but the way he wrote it down was anything but.
However, what all these settled and secure writers (myself included) do need to do is accept, is that their lives are not very interesting in themselves and that for that reason they should really write about something else. There’s altogether too much introspective I’m-depressed-in-a-small-London-flat-and-mindless-job fiction out there, and it’s the result of writers – often technically very talented or skilled writers – believing that they themselves are an intrinsically fascinating subject for a novel.
Of course, this isn’t to say that life experience is not a valuable aid to writing good fiction. Travelling and living in other countries, teaching people from other cultures, living a varied and sometimes difficult life – all these things have fed into my fiction, have helped me develop a credible human dynamic in the story-telling. But you have to recognize that experience as nothing more than a handy raw material, something you borrow from and re-shape, if you have it to hand, or fake if you don’t. In the end I don’t believe it’s actually necessary. The only really indispensable thing a good writer of fiction needs is a first rate imagination. Everything else you can go dig up or research as and when you need it.
SD: And since you mention background research, how much do you stress on it in your work? Is it necessary to have all the background details at hand when you start writing, or do you feel confident to fill possible gaps as you go along?
RM: Different writers will handle this in different ways – but personally, I would die of boredom if I had to have all the background sorted out before I started writing. I don't tend to plan my novels very carefully at the start, I prefer to see where the initial inspiration will take me, and then do the necessary background reading and fact-checking as needed along the way.
SD: When you start writing a story, do you try to avoid certain cliches and tropes, or you don't concern yourself with that as long as the story works?
RM: The latter, definitely. Tropes and clichés exist for a reason – they are short-cut cultural descriptors, things that have worked well enough in the past to become embedded in our cultural consciousness. If you can make use of them in what you’re writing, then sure, go right ahead and do it. If you can’t, though, they still provide a useful starting point – you just break them apart to see what works better and why.
SD: Your forthcoming novel – The Steel Remains – is your first attempt at fantasy. You give rather strange definitions of the book ("Weird Old Epic Noir" being my favourite). Without giving too much away, what can you tell us about the novel and its sequels?
RM: About the sequels, almost nothing – I haven’t planned those books yet (and planning has never been my strong suit anyway), let alone started writing them. What they’ll contain is anybody’s guess. About The Steel Remains itself, I can only say that it is the fantasy novel I’ve always wanted to write, that it’s as brutal, bloody, overtly political and explicitly sexual as anything I’ve yet written, and that it has absolutely no real good guys in it. Think Kovacs with broadswords, and you won’t be far out.
SD: What do you think of the recent "new wave" of Fantasy, heralded by names like Scott Lynch, R. Scott Bakker, Stephen Erikson, Hal Duncan etc.? Do you think the genre is finally moving away from the cliches most people associate it with?
RM: Well first of all, that’s not something I’m really qualified to judge, because I have only the most cursory knowledge of this new wave. Ninety percent of the fantasy I’ve ever read was written before 1980. But from what I do know, I think it’s less a case of moving away from the genre clichés, and more a matter of re-wiring them at a raised level of engagement. For instance, Erikson’s Deadhouse Gates is replete with "clichéd" genre elements, but the genius of that book is not in the material itself. Erikson has chosen some well-worn fantasy staples – ancient races, pitched battles, dragons, magic – but what’s interesting is the level of human intensity he brings to bear on the tale. And clearly that’s got to be good for the genre – the more human your story is, the better literature it’s going to be.
SD: What are your strengths and weaknesses as a writer? What is it about the act of writing that gives you greatest pleasure?
RM: Strengths and weaknesses – well, that’s really not for me to say. You’d have to ask the readers. What I would say is that all my work is character-driven, with character interaction as the motive force for both plot and ultimately world-building too (I build the background in direct response to the back-story needs of the characters as they progress through the book). So those readers for whom plot is the major factor may feel that I don’t move fast enough, and those who love a map at the beginning of each volume and exhaustive detail on the landscape we’re passing through may also be disappointed. But if character development is important to you, then I’m your man. And certainly one of the things that gives me most pleasure in working on a book is watching the characters grow into themselves as the story progresses.
SD: What do you think of writing workshops?
RM: Whatever works for you. I’ve never attended one, but that proves nothing. I’ve never been surfing either, but I hear it’s great.
SD: What do you think about the fanfics flooding the internet? Do you consider them a mockery of an author's work, or a way for a person to express their love for a certain book? Would you be flattered or insulted to find a fanfic based on your own works?
RM: I haven’t actually seen any fanfic, so I only have the loosest sense of how it works. But I suppose imitation is always the highest form of flattery, and I can’t see how it would have a detrimental affect on my sales, so it would be hard to get pissed off about it. Beyond that, though, I confess I’m a bit mystified by the phenomenon. My question to the fanfic writers would be why, if you have the urge (and the technical skill) to write, would you choose to waste time aping someone else’s characters and settings? Why not just invent some of your own stuff, albeit influenced by what you’ve read and liked. Hell, you might even come up with something you can publish, and actually get paid for it!
SD: Black Man/Thirteen made it to neither the Hugo, nor the Nebula finals, even though the majority of readers labeled it as one of the best SF books of 2007. What do you think is the reason? Do you believe the American market is too conservative when it comes to
an author criticizing the American way of life?
RM: There is certainly an element of the US market which is conservative, but I’m not sure you can lay my failure to get a Nebula or a Hugo at its door. Black Man/Thirteen has sold very well in America, and has received some very good reviews from American critics. And it’s worth remembering that it was an American panel that handed me the John W Campbell award for Market Forces, a novel that’s savagely critical of American business practices, neo-colonial foreign policy and neo-liberal capitalism in general. So I’m inclined to blame bad luck rather than a political agenda. Maybe the overt critique of current trends in US politics did put some people off, but I think what’s more likely and more important is that there were just a lot of other good books out there and, well, they can’t all make it to a list that’s only five books long in each case. Besides which, (big grin!) I’m well contented with winning the Arthur C. Clarke award instead!
SD: What do you think about the blooming "political correctness" in America in recent years and don't you feel it is a form of severe censure? How does or will it affect literature in general and your works in particular?
RM: In fact, I think political correctness has well and truly bloomed, and is now on the decline. People have seen the damage it’s done, and there’s a definite backlash now. In a sense, it’s a great shame, because like a lot of ideas born on the ideological left, political correctness had a certain core value when it started out. (It’s good to make racism unacceptable, it’s good to stop the denigration of women for their sex, and so forth.) But unfortunately – also like a lot of leftist trends and tendencies – the original idea got hi-jacked by entirely the wrong people, and they fucked it up for everybody else. As to how all this affects me, I’m really none too worried. Despite the title change, Black Man came out in the US as exactly the same novel it was in the UK. Thing is, there’s a lot of talk about how the pc issue is going to affect freedom of expression, but I don’t see much hard evidence of it happening. I think we have far more to fear on that front from the right wing media machine, which has proven very adept at stifling free expression over the last thirty years.
SD: Do you feel that active communication with other authors is productive for your writing, and do you think there is a place for solitary geniuses nowadays?
RM: Well, I’m certainly solitary – don’t know if that makes me a genius! But seriously, no, I don’t find communication with other authors helpful – or unhelpful! – in my work. I find it socially very pleasant, stimulating at a personal level, and a nice change from what is, let’s face it, a very solitary profession. But as with most professionals, there is a marked tendency in such social events to (at least try to) avoid talking shop. In the end novel writing is work you have to do alone, and I find that suits me fine.
SD: How does blogging and visiting fansites influence your creative abilities or your habits? Have you ever been in a situation when you knew what your readers expect/want from a book of yours before it was finished? If yes, what did you do about it?
RM: No, that’s never happened to me. But anyway, as I said earlier, I write for myself. I’m not interested in what other people want out of me. If they can’t find what they’re looking for in my fiction, they just have to try someone else. That said, blogging and surfing do occupy rather a lot of my time these days – perhaps rather too much, especially as delivery deadline start to encroach…
SD: Could you share an advice you think important for aspiring authors (apart from "work hard and don't give up")?
RM: Know the market, and if you’re not prepared to write for it rather than for yourself, then be prepared instead to spend some time starving in your garret. Artistic integrity is wonderful, but before you commit to having some, you should be aware of what it may cost you. And work hard and don’t give up.
SD: Do you wish to share something with your Bulgarian readers?
RM: Uhm – hope you like the books.