When he smiled it really did feel as if the chilly Caernarfonshire wind had stopped for a few seconds and as if the place had suddenly got warmer.
When Miriam fell in love with Padraig life seemed simple. But soon she discovered that love is a treacherous business. Everything changed when she met Daniel. She was taken down an unexpected path which would dictate and dominate the rest of her life.
Spanning three generations of a North Wales family in a Welsh-speaking community, Miriam, Daniel and Me is an absorbing and compelling story of family discord, political turmoil, poetry, jealousy…and football.
Miriam, Daniel and Me is the first novel in English by Welsh author Euron Griffith. In this interview, Euron tells us what inspired the novel and discusses what its like to bring a book out during a global pandemic. Scroll to the bottom to see the details of the virtual launch taking place this Thursday (30th July).
What was the inspiration behind Miriam, Daniel and Me?
Believe it or not, initially this was going to be a book about my lifelong obsession with the Beatles – a kind of ‘music memoir’ of how the band’s music reflected incidents in my own life. This seemed to make some kind of sense since I’d already written a short story collection called The Beatles in Tonypandy (which was a satirical fantasy on what ‘happened’ when the band moved to South Wales and took up pigeon fancying in 1967!) and so I wanted to write about them in a more personal and less surreal way. It soon became clear to me, however, that I was becoming more interested in the context of the piece – that is, my own experiences of my upbringing and my family history – than I was in the Fab Four’s peripheral and distant part in it. I found that the concept was becoming laboured and that I wasn’t making it come alive for myself and, therefore, it probably wasn’t going to work for anyone reading it. So the Beatles were soon rejected in a cruel, Decca-like fashion!
There were parts of my family history that I only had a vague knowledge of – my paternal grandfather for instance, whom I had never met because he died before I was born. I remember my granny and my dad telling me the story of how he had died suddenly in his chair after returning from the quarry one night but that was all I knew. I filled in the blanks myself – guessing here and there as to how things might have happened. The same was true of my mum. She had fallen in love with an Irishman before she met my dad but I didn’t know the whole story. As a kid I recall my maternal grandad showing me little bits of electrical handiwork this Irishman had constructed – little light switches etc. – so I knew he’d been an electrician and I’d seen photos of him so I knew he had red hair…but nothing much else. Only tantalizing fragments.
Once I’d stumbled across a photo of my mum walking down a street with him and, on the back, someone had written ‘Dublin’. She must have really loved him to go there for a visit. Especially in those days when travel wasn’t such a common thing. So here I did the same as I did with the story of my paternal grandad – I just tried to fill in the gaps. To make sense of it all. It soon grew into something of an obsession and, slowly, I saw that there was a novel brewing here. I weaved in my dad’s experiences as a poet and a goalie – how he had been invited for a trial with a big club once (in real life it was Bolton Wanderers but I changed it to Preston North End in this book…not entirely sure why to be honest!). Now, as I stand back and look at the finished piece, I can see that the overarching theme seems to be the notion of chance, often driven by love or passion, and of how it can affect the course of our lives.
The story is told through the eyes of multiple characters, particularly by three generations of Miriam and Daniel’s family. How is this inter-generational perspective important to the story?
The flippant answer would be that I get bored quite easily and I like to allow myself to dive into different characters and styles of narrative. But there is a more stylistic reason for it too. I love the way classic Victorian fiction such as Wuthering Heights and The Woman in White utilize a playful and effective way of presenting events through different viewpoints. I was also influenced in this by the films of Kurosawa and Quentin Tarantino. I was keen to hurl the reader back and forth without always giving an initial indication of when something was happening in ‘linear’ time because I thought it would heighten the dramatic effect. I suppose a simple example of this would be the rat poison incident (no spoilers!). The novel began with Miriam and Daniel’s story but, around this, there gradually grew the context of their lives- what happened before and what happened after (with the unnamed son). I played with time more outrageously in my last Welsh language novel Tri Deg Tri about a hitman where chapters were numbered in relation to the sequence of the central character’s ‘kills’ rather than to chronology. So I have form! Some readers found it puzzling but more, so I’m told, found it exhilarating!
My other challenge here – admittedly rather grand and insurmountable – was to try to write a kind of Welsh ‘bildungsroman’ – the story of a family and personal development featuring several characters. I was introduced to Buddenbrooks as a student and Thomas Mann’s masterpiece has stayed with me over the years. It certainly influenced me more strongly as this novel developed and the overall shape became clearer. Needless to say I could never come close to such a perfect piece of art but it gave me something to aim for! Aim high. Always aim high…
You build a clear picture of village life in 1950s and 60s Gwynedd by bringing in other members of the community and the events affecting their lives, namely the investiture of Prince Charles. Why was it important to you to bring this to life in Miriam, Daniel and Me?
It was a matter of context. Of filling in the canvas and making the whole world more real and multi-layered. I am a keen painter and there is a clear link, I reckon, between visual art and writing. Paul Klee once said that he liked ‘taking a line for a walk’ and that’s how writing begins for me. A line followed by another and, gradually (if you’re lucky), a world forms – a picture. Then it’s a matter of filling in the details. Picasso once said that the most difficult part of any painting was knowing when to stop. He was obviously right (when was Picasso wrong about anything??). In my own case I only recognise when to stop when it comes to re-writing. The first draft is always a sketch. I really don’t think you know what the book is until you’ve stepped back and studied the overall shape and pattern. It needs time. Re-writes. This novel went through at least three major re-writes! Curiously perhaps, this novel was also mainly written in London so there was an extra layer of distance there. James Joyce once said that he had to move to Zurich to write about Dublin. He wasn’t wrong about much either…
The book is coming out in very different circumstances to those any of us could have imagined but the BBC reported last week that Brits have been buying more books during lockdown. What makes Miriam, Daniel and Me a good lockdown read? What do you hope readers will take away from reading it?
Books and records are an obsession for me and if people are reading more and listening to more music then, in my world, that’s a good thing. Online trading is obviously booming in both these markets but I do worry about the wider context of physical retail – not only from the perspective of people’s livelihoods but also from a rather more selfish one. I really find wandering through shops and cities soothing and exciting so, in lockdown, I miss the bustle of the high street – the sights and sounds. When I was in London I would often hop on a bus in the afternoons and go to the middle of Piccadilly Circus and then wander around Soho just to soak up the atmosphere and work out things in my head to do with this novel and with other matters. I’m hopeful that things will return to normal soon.
In terms of what people will take away from this book there is the obvious factor of enjoyment of course but one of the reasons I wrote this book in English was because I don’t think north Wales and the ‘north Welsh experience’ has been explored as often in English language fiction as its southern counterpart. Most people when they think of Wales think rugby and the valleys but this is not strictly accurate. Rugby meant nothing to me when I was growing up and still doesn’t. Indeed, I vividly remember our PE teacher damning it as ‘a game for fat boys who are too slow for football’! My world when growing up was formed by television, football and pop music – the Monkees, The Man from UNCLE, Leeds United, Thunderbirds and Monty Python. Not by chapel or the Eisteddfod or Gareth Edwards. I never ‘got’ Shirley Bassey or Max Boyce and there were no coal mines in my part of Wales. I’m not entirely sure what ‘Wales’ is. My guess is that there are at least twenty versions of it and I didn’t think the story of mine had been told.
We’re hosting an online launch for the book later this week. What can attendees expect at the event?
Well Jon Gower is a perceptive reader and I’m intrigued to know what he thinks of the novel. He always has an interesting perspective on things. I’m thrilled that Rakie Ayola has agreed to read a few passages from the novel. She is such a brilliant actor. Hopefully the conversation and the readings will stimulate all the many thousands tuning in via Zoom to buy the novel and send it to the top of the Sunday Times best seller chart…
Finally, a question lots of writers have probably been asked recently, but have you found lockdown a particularly creative time? Is there anything you’re currently working on?
Writing never stops for me. After finishing this novel I immediately returned to a manuscript I started ten years ago and have been working on intermittently since then. I finally finished it just before last Christmas. It’s a peculiar, surreal ‘historical’ novel based on the adventures of a gentleman traveller. Influenced by ‘Don Quixote’ and more modern pieces such as ‘Life of Pi’ it features a man mistaken for Jesus, a three-legged cat, a serial killer and cannibalism. So it couldn’t be more different to Miriam, Daniel and Me! It’s called The Confession of Hilary Durwood. Since lockdown I’ve started another novel. I was up to 40,000 words before realising that it wasn’t much good so I scrapped it and started again. It’s much better now.
Before Covid struck I played regularly in my band Six Sided Men but, naturally, all that is on hold now. But I’ve been writing tons of songs and recording them myself on my little portastudio (driving my wife mad in the process as we have inadequate soundproofing!). I’m currently recording some Christmas songs I’ve written and will include these on a CD for friends when the season for merriment arrives…
I’ve also been painting and drawing. So yes. A worrying time in many ways. But I can’t say it’s been entirely unproductive…
Join us for the virtual book launch – Thursday 30th July, 7:30pm. Euron will be in conversation with Jon Gower and actress Rackie Ayola will be reading excerpts from the book. Email firstname.lastname@example.org for the link. Full details here.
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