{"id":40147,"date":"2025-01-21T12:39:12","date_gmt":"2025-01-21T12:39:12","guid":{"rendered":"https:\/\/suffolkcommunitylibraries.co.uk\/?p=40147"},"modified":"2025-09-23T08:57:47","modified_gmt":"2025-09-23T07:57:47","slug":"%e0%a6%b2%e0%a7%87%e0%a6%96%e0%a6%95-%e0%a6%ac%e0%a7%87%e0%a6%a8-%e0%a6%b6%e0%a7%8d%e0%a6%af%e0%a6%be%e0%a6%9f%e0%a6%be%e0%a6%95%e0%a7%87%e0%a6%b0-%e0%a6%b8%e0%a6%be%e0%a6%a5%e0%a7%87-%e0%a6%a6","status":"publish","type":"post","link":"https:\/\/suffolkcommunitylibraries.co.uk\/bn\/meet-the-author-ben-shattuck\/","title":{"rendered":"\u09b2\u09c7\u0996\u0995\u09c7\u09b0 \u09b8\u09be\u09a5\u09c7 \u09a6\u09c7\u0996\u09be \u0995\u09b0\u09c1\u09a8: \u09ac\u09c7\u09a8 \u09b6\u09cd\u09af\u09be\u099f\u09be\u0995"},"content":{"rendered":"

[et_pb_section fb_built=”1″ _builder_version=”4.27.4″ _module_preset=”default” da_disable_devices=”off|off|off” global_colors_info=”{}” da_is_popup=”off” da_exit_intent=”off” da_has_close=”on” da_alt_close=”off” da_dark_close=”off” da_not_modal=”on” da_is_singular=”off” da_with_loader=”off” da_has_shadow=”on”][et_pb_row _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” text_font_size=”19px” text_line_height=”1.3em” global_colors_info=”{}”]<\/p>\n

21 January 2025<\/strong><\/em><\/p>\n

[\/et_pb_text][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” text_font_size=”19px” text_line_height=”1.3em” hover_enabled=”0″ global_colors_info=”{}” link_font_size=”19px” sticky_enabled=”0″]<\/p>\n

Ben Shattuck is the author of Six Walks: In the Footsteps of Henry David Thoreau<\/em>, which was a New Yorker Best Book of 2022, a Wall Street Journal Best Book of Spring, a New York Times Best Book of Summer, a New England Indie Bestseller, and was nominated for the Massachusetts Book Award. He is a graduate of the Iowa Writers\u2019 Workshop and winner of the PEN\/Robert J. Dau Short Story Prize for Emerging Writers and a Pushcart Prize. He lives with his wife and daughter on the coast of Massachusetts.<\/p>\n

Ben’s latest book of short stories is The History of Sound<\/em> <\/a>which was published by Swift Press in the UK. You can find The History of Sound<\/em> and Ben’s other books on the Suffolk Community Libraries catalogue<\/a>.<\/p>\n

[\/et_pb_text][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” text_font_size=”19px” text_line_height=”1.3em” hover_enabled=”0″ global_colors_info=”{}” link_font_size=”19px” sticky_enabled=”0″]<\/strong><\/p>\n

What was your first introduction to the world of books and reading?<\/strong><\/p>\n

Back in the early 90s, when I was seven or so, my dad, who is a landscape painter, illustrated a children’s book called Moonlight on the River<\/em>, which is about me and my brother sneaking out of our seaside home and taking a sailboat for a midnight fishing trip. Watching my dad work was my introduction to how books are made, how long it takes to shape a story and what it means to publish\u2014that books don’t arrive on library shelves out of nowhere as I suppose I imagined, but are the hard work of very creative people.<\/p>\n

My favorite book to read around that time was Jane Langton’s The Fledgling<\/em>. I remember thinking that the protagonist really had figured out how to fly \u2013 I hadn\u2019t paused to think about the difference between fiction and nonfiction. The first book I loved as a teenager was Annie Dillard’s essay collection Teaching a Stone to Talk<\/em><\/a>, but I didn’t really like reading for pleasure until the summer before I went to college, when I read Zadie Smith’s White Teeth<\/em><\/a>, which I found on a bookshelf in a friend\u2019s house in Australia.<\/p>\n

<\/strong><\/p>\n

When did you really start writing with a view to publication and who encouraged you to keep going?<\/strong><\/p>\n

A couple of years after I graduated from my university, I took a job as a field assistant at a research station in the Carmel Valley, California. The graduate student I worked for was studying Western Bluebirds. My job was to wake up very early and count how many times the bluebirds visited their nest sites, what males were singing where, map their territories, and so on. Because my days were done by the early afternoon, I had hours and hours of free time, and because this was 2009, none of us had smartphones or \u2013 at least at the house where all the research assistants stayed \u2013 internet connection. Meaning: I read a lot. At the bookstore in town (we went to town once a week to get groceries) I came across Jim Shepard’s short story collection Like You’d Understand, Anyway, and fell in love with the short story form.<\/p>\n

That year, after realizing behavioral biology wasn\u2019t in my future, I applied to graduate writing programs and later attended the Iowa Writers\u2019 Workshop. While at Iowa, I had an idea that I might publish fiction someday, but still didn\u2019t know how. It all seemed very far off and out of reach. So, I started writing historical nonfiction articles, which in many ways is easier to publish than fiction. Those articles weren\u2019t encouraged by anyone, but driven by a fascination with 19th century New England. From those articles, I got the encouragement and confidence to publish fiction, beginning with the literary magazine The Common, whose brilliant editor, Jennifer Acker, supported my writing and gave me positive feedback. The Common published the short story \u201cThe History of Sound\u201d back in 2016.<\/p>\n

<\/strong><\/p>\n

You have a writing shed. Can you please describe this and how it contributes to your creative process?<\/strong><\/p>\n

I write in my dad’s old painting studio (the shed), which had been my great-grandfather’s toolshed. It’s filled with mason jars, old wasp and bird nests, animal bones, dusty books, a broken mandolin, pinned butterflies, pressed seaweed\u2014imagine Rembrandt’s painting studio and you’re not far off. The studio is a hundred feet or so from my house. When I’m in the middle of a writing project, I go to the studio first thing in the morning, then write for about three or four hours. There are few distractions when I\u2019m there. I leave my phone at the house; there’s no internet. It’s impossible to think that I would have completed any writing projects without this space, without the solitude and quiet that probably many people need to complete something as (sometimes) overwhelming as a book. The studio is just far enough away from the house that it can feel like I step into another world when I walk through the creaky old door.<\/p>\n

<\/strong><\/p>\n

Can you tell us a little about your latest title The History of Sound: Stories<\/strong><\/em><\/a>?<\/strong><\/p>\n

This is a collection of short stories that would be called historical fiction \u2013 in that every story is either set in the past or explores the ways that the past (personal or historical) changes characters\u2019 lives. The collection spans 300 years in New England, the area of the world where my family has lived for generations. Some stories are set in present day, centering around historians or podcasters or writers or academics who are interested in history, but the majority of stories are clear historical fiction: a cult in 1600s Massachusetts forests is waiting for the turn of the century; a logging camp in early 1900s New Hampshire is the site of a mass homicide; a single mother in an apple orchard in 1800s Cape Cod is trying to decide how to live her life.<\/p>\n

<\/strong><\/p>\n

There are several artifacts that feature in The History of Sound: Stories<\/em>. I’m interested in the sifting process of what makes it into the final cut of the book and what narrowly missed out?<\/strong><\/p>\n

I don\u2019t think any artifacts were cut \u2013 maybe because of the process that many of the stories were formed. I\u2019d start with an image of an artifact in my mind, like a wax cylinder (The History of Sound<\/em>) or an antique sex toy (The Silver Clip<\/em>), or a taxidermied extinct bird (The Auk<\/em>), then build a character or plot around that object. Those objects become the foundations and the glue of the stories, touching the lives of the characters throughout, but also settling them on a base from which the plot grew.<\/p>\n

<\/strong><\/p>\n

Anyone picking up The History of Sound<\/em> will quickly realise that the stories are paired and interconnected. Where did you get the idea for this structure?<\/strong><\/p>\n

As I was reading primary sources and nonfiction to get ideas for stories, I started feeling a natural duet forming between the past and present. As in, the writer in the present starts to become paired with an event or place or person from long ago, which is being resurrected through an instrument of research or imagination. I started thinking about how someone in the present can be changed by the past\u2014anyone who has discovered a family secret knows this. The question then became: how would they be changed, and could that change go both ways (the past changed by the present, and the present changed by the past)?<\/p>\n

It seems to me that the history isn\u2019t cause and effect\u2014but, more, impacts creating radial shockwaves. Something happens, you don\u2019t know how or who it\u2019s going to affect, but you can be sure it won\u2019t be linear, that large circles of us are connected. Like, in one story, a woman leaves her child with her brother and sister-in-law in the 1880s, which leads another woman in the present day to meet her husband. Or in another story, two young men in Maine record folk songs on wax cylinders in the early 1900s, which leads a woman eighty years later to realize she\u2019s married the wrong person.<\/p>\n

The collection isn\u2019t broadly interconnected or interlinked as some collections are, but specifically in pairs. It\u2019s a one-two relationship featuring those duets, or \u2013 per the book\u2019s epigraph \u2013 rhymes. Hopefully, when those stories are put side-by-side, something like a harmony forms, a third entity that offers the reader some new understanding of each.<\/p>\n

<\/em><\/strong><\/p>\n

The History of Sound<\/em> is now a major film. Writing and particularly short stories are such a personal medium where you do not have any spare words. How did writing the screenplay compare to creating the short stories and what were the biggest challenges you faced?<\/strong><\/p>\n

Writing a screenplay is a bit like making architectural plans as opposed to writing a novel or short story, which is like building a house. In fiction, the writer must create and describe the characters, generate dialogue that fits each, describe how those characters react to each other, what characters\u2019 thoughts are, go into their backgrounds, describe the spaces and landscape and weather those characters move through, decide on the register of prose for those descriptions, what verbs or nouns or adjectives or punctuation to use in a way that best renders the story, create metaphors or foreshadowing, and so on, and so on, and so on. It\u2019s a lot to keep track of.<\/p>\n

But in screenwriting, it\u2019s just two things: where the character is, and what they are either saying or doing. All the rest (all interiority, emotions, reactions, descriptions of place, tone) is in the hands of the director, the actors, production design, the physical locations and so on. There\u2019s just a lot less to write \u2013 which, in a way, can make the task harder. If the story or character development isn\u2019t compelling, the film will become just a stack of meaningless scenes. But, maybe because of my background in painting, screenwriting felt like picking up an instrument that I could play without too much difficulty. It\u2019s very a stripped down and minimal medium, an almost poetic form of writing that makes big swoops of the imagination.<\/p>\n

<\/strong><\/p>\n

What’s next for you?<\/strong><\/p>\n

I\u2019ll return to the novel I\u2019m working on, which begins in 18th century eastern Germany and ends in the Hudson Valley, New York, in a sort of retelling of the story of the Headless Horseman in Washington Irving\u2019s The Legend of Sleepy Hollow.<\/p>\n

<\/strong><\/p>\n

One book you keep returning to or wish you had written?<\/strong><\/p>\n

I keep returning to Paul Harding\u2019s Tinkers, and I wish I had written Susanna Clarke\u2019s Jonathan Strange and Mr. Norrell<\/em><\/a>.<\/p>\n

<\/strong><\/p>\n

Can you tell us one thing about yourself that your readers may not know?<\/strong><\/p>\n

I really love Morris dancing, despite what I know everyone thinks about that! For years in California, I was on a Morris dancing side. One particularly enchanting event was doing Abbots Bromley through the redwood forests north of San Francisco on the winter solstice. The dark, the quiet, the enormous trees towering overhead. There\u2019s so much magic in these old dances and in the music.[\/et_pb_text][et_pb_divider _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_divider][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

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