Today I am delighted to welcome Claire Corbett to Feathers of the Firebird, to answer questions about her extraordinary, genre-bending new novel, Watch Over Me, as part of her blog tour for the book.

First of all, congratulations on Watch Over Me, Claire! It’s an absolutely superb novel, highly-charged, atmospheric, passionate and thought-provoking, and I was gripped from the very beginning. How did the idea first come to you, and how did it develop over time?

Thanks, Sophie. It’s probably hard to know the true answer to that question. I’ve been thinking about elements of the story for years, probably since I was a child and heard stories about the war experiences of my grandparents and their families, especially my great-uncle, who was shot down over Belgium and hidden by a farming family that was part of the Resistance.

The ideas in it also grew out of so many things, from the family stories to feminist ideas on the roots of violence both personal and political and partly crystallised by what Kurt Vonnegut said in his novel Bluebeard, that one of the main purposes of war, which is rarely admitted, is to put women in that vulnerable, desperate position, depending on men for protection and even food.

It’s amazing how this is celebrated, you know, all the valorisation of American soldiers handing out stockings and candy bars. Australian soldiers used to boast about how cheaply they could buy Japanese women during the Occupation of Japan: ‘a girl will go all night for one bar of chocolate,’ they’d say. As if exploiting a young girl’s hunger was something to be proud of.

My parents grew up under the German occupation of France, and the stories they told about the complexities of it and the interactions of their families, friends, neighbours, whether willing or not, whether positive or negative, with the invaders, have always haunted me. I found many echoes of those complexities in Watch Over Me, and in fact at one stage you make a specific reference to the famous retort by the actress Arletty at her post-Occupation trial, defending her sexual history during the Occupation. In recent years there has been a great deal more subtle exploration than there used to be in France of the themes of collaboration/resistance, with publications such as Suite Francaise and screen-based narratives such as Un Village Francais. All this is a longish prelude to asking you, was the Occupation a major influence on the themes of your book, and in what way?

Yes, it was a huge influence and I’m pleased it resonated for you. It’s the example that looms so large in our psyches of a complex Occupation between two peoples who have culturally similar backgrounds – it’s not the same as the Occupation of Japan or Americans in Saigon or Baghdad. The French and the Germans understand each other in quite a different way and have so much shared history and I wanted that ambivalence in Watch Over Me. Hiroshima Mon Amour blew me away when I was younger. I didn’t know you were allowed to admit that a French girl could fall in love with a German soldier. Films of treachery and collaboration or even just having to live alongside each other such as Au Revoir Les Enfants, or Lacombe Lucien were a big deal. And that incredible documentary Weapons of the Spirit about the little Huguenot village of Le Chambon whose people hid and saved around 5,000 Jewish kids and adults during the war.

Also, I knew a very interesting French Jewish artist who grew up during the German occupation of Paris and he had many striking stories about that. Again, with the love and hate – they took his father away to Mauthausen concentration camp but the German officer down the street brought his hungry family food and so on. So, his feelings were mixed, to put it mildly. Like so many French people he reserved his real hatred not for the German Army but for the French government and its over-enthusiastic cooperation which he felt went far beyond what they had to do. He’d point out to us the bullet holes in the walls of houses near where he’d lived, show us where the American tanks had only just been able to fit through the narrow streets. As a kid he’d been given food by both German and American soldiers, he saw some of those correspondences.

So, you can see traces of that in the book and of course my reaction to the way women who had relationships with the occupiers were treated after the war by a nation which had done far worse than have sex with the Germans. I recently found out that Norwegian women who had relations with Germans – and the poor kids that resulted – were treated viciously after the war. I was shocked by how victimised the children were.

There are also many other cultural/historical influences I could see in Watch Over Me: American occupations in Afghanistan and Iraq, hints of Russian adventurism in Ukraine and the Arctic, (and if I’m not mistaken, a saying or two from Russia!) Inuit and Sami influences…How did you go about weaving these threads together to create the particular cultural atmosphere of your fictional society?

Yes, you’re right about the Russian sayings! Well, of course the Russians and Ukraine and the Arctic is all real and happening now and shows the plausibility of my story but the funny thing is that I’d written much of it and worked the story out before events in Ukraine. It was weird and kind of scary watching my story come to life. The energy geopolitics underpinning the tale are real – the Lomonsov Ridge, the jockeying for the resources of the Arctic, that is all real.

In terms of cultural atmosphere Port Angelsund has to be a Scandinavian city. I began with my own memories of growing up in Canada – I’m a person with a northern heritage too so I understand some of that – but then I did a lot of research. I made it as real as possible. Every detail is as true to my fictional city’s real location as I could make it. Reflector Awareness Day is real, how they deal with the light and the dark winters, the names of the cakes – all that reflects the reality of the place.

Having said that, it has a mythic quality too. The one violence I did to my city to make it mine was importing the great castle of Prague, which became the Berg. I had good reasons for that and anyone who knows their World War II history will quickly work out why. My real model city for Port Angelsund does not have a castle but some Scandinavian cities do, of course. One way I wove my cultural threads, as the Berg shows, was by layering time – my novel is a book of modern war but it also reflects on wars that affect the history of the West, so there is The Iliad and echoes of WWII and the Balkan wars.

Recognition of the Sámi people was important – there are Indigenous peoples in Europe too and they have lots to teach us about occupation. Again, that reflects my growing up in Canada and Australia – these vast settler societies that base their modern existence on taking entire continents away from their original peoples. We cannot forget that and it shouldn’t be forgotten in Europe either.

The world of the novel mixes glancing mentions of real places—Paris, Finland, for instance—with the much more delineated fictional places, especially ‘Port’ of course, but also the Sequestered Forest, Heartland etc. Though the fictional places have echoes of real places—Scandinavia, the Arctic, the US—they are also very much themselves, jolting the reader out of assumptions based on place. This also occurs with the opposing forces, Garrison and Coalition, which are never associated with any particular ‘real’ nation. Why did you choose to do this, and how did you go about the landscapes and histories of your world?

In a way you’ve answered the question very well – ‘jolting the reader out of assumptions based on place.’ That’s exactly right. I wanted the nations to be unnamed because it could be any nation. All nations are capable of war crimes but we seem unable to think about the morality of actions free from the bias of nationalism. It’s still controversial to call the way Germany was bombed in WWII, the firebombing of Dresden and so on, a war crime but it was.

The My Lai massacre during the Vietnam War was not an aberration, for example. Equivalents to My Lai happened if not every day than every few weeks. In fact there were far bloodier massacres than My Lai but they were covered up http://www.bbc.com/news/world-asia-23427726 . The scale of the slaughter was industrial because the US had no other measure of success than body count: kill anything that moves, was the motto of many US commanders. Dead civilians were counted as dead enemy combatants to keep the kill counts up.

If you read what happened at My Lai, over five hundred civilians – women, children and old people – were rounded up and gunned down in a ditch, women raped, toddlers crawling away being dragged back to be shot, entire families, three generations, wiped out http://www.newyorker.com/magazine/2015/03/30/the-scene-of-the-crime. What kind of soldiers and what kind of war crimes does that remind you of?

Over a hundred and seventy children were executed, including fifty-six babies. We want to believe My Lai was an aberration but it was not and there are tens of thousands of pages of formerly classified documents proving it was not. And yet in a presidential proclamation on the Pentagon’s official Vietnam War Commemoration website, President Obama described American soldiers in that war as ‘fighting heroically to protect the ideals we hold dear as Americans.’ That same site refers to My Lai as an ‘incident.’

People are still whining about popular protests against the Vietnam War. They don’t say that ‘incidents’ like My Lai are what people were protesting about. Protesters didn’t want babies and pregnant women being gunned down and having their skin burnt off by napalm in their name. Imagine that. Those who criticise the protesters choose to ignore that many leaders of the anti-Vietnam War movement were veterans themselves, returned soldiers who knew exactly how bad the war was and what evil was being done.

And this is not even to mention the drenching of those Vietnamese provinces in Agent Orange, which is still causing birth defects. Are we interested in labelling any of this as criminal, as evil? Are we interested in holding anyone to account? Clearly not. There are many more examples that are more current, from the suffocation of hundreds or thousands of Taliban prisoners in shipping containers at Dasht-i-Leili to the agony going on now in Syria and Yemen.

When the US uses napalm or phosphorus or depleted uranium or massacres over 250 civilians in a strike on Mosul or bombs a hospital somehow we’re okay with this. I’m not sure why. But when the ‘bad guys’ do this kind of thing we are shocked. Shocked and angry.

So, I wanted the reader to be uncertain. To suspend judgement. Surely that’s the only way we can learn anything.

I went about the landscapes and histories of my world as I described above – I made every bit as real as possible, based on research on the city that was my model for Port as well as real wars happening now. When I made a big change, like the Berg, I had specific reasons for doing so.

Like your earlier novel, When We Have Wings—which I also loved—this novel is a rich, heady hybrid, blending aspects of speculative fiction and realism. Watch Over Me also stirs in elements from historical fiction, Scandi-noir and highly-charged, and disturbing, romance. How did you keep all these elements in balance?

With a lot of research and writing and then a lot of cutting, including the help of my wonderful editor, Ali Lavau, whom I trust completely. It was the hard work on the editing that made balancing all those strands complement each other.

Watch Over Me unflinchingly yet never simplistically explores the complicated relations between men and women in wartime, and the way in which ‘normal’ gender relations are both upset by it and yet reinforced. This happens both between occupier and occupied, and between the occupied themselves, including the Ultras, with their macho rage against the occupier turned all too often against their own countrywomen. The vulnerable position of children is also poignantly explored. All this is brought out powerfully through the characters, not only the central ones of Sylvie, her family, friends, and her Garrison lover and his mates, but also through a host of beautifully-drawn minor characters, brought to very human and complex life. Can you tell us more about your creation of your characters? Were there any that were particularly hard to portray?

I loved all my characters and found them so fascinating that it made them easy to write – Max the pompous but passionate journalist, brave Erik, sturdy and gifted engineer Gull, my poor forest wild child Goran, the chorus of young single mothers, troubled Vick and even more troubled Captain Elias. I had difficulty with my confused rich girl Karin until I hit on her rebellious support for the Ultras. Of course she would be like that, it came to me, and all at once she came to life. I did have some lovely animal characters too but many things had to be cut.

Will was the hardest to portray because I had to create such a balance of attraction and anger and resentment on both sides. He has to be believably arrogant and capable of violence and full of self-confidence as a young, cocky officer. He is Special Forces, after all. As an occupier he is experiencing what it’s like to be one of the Lords of Creation. And he is young. It is going to go to his head. It would’ve been too easy to make him hateful but I wanted the reader to understand his magnetism for Sylvie, how much she wants to feel his power not so much over her but enveloping her. I wanted to open a gap between his institutional power as an occupier and the sense of him as a person too.

But then there was the opposite danger of idealising Will. Too many novels written about these kinds of relationships try to soften it by making the occupier, the soldier, into a romantic paragon so that it’s okay for the heroine to love him – there’s a bit of that in Suite Francaise. The German officer is too good to be true – a sensitive composer and so on. I made Will a real soldier; he’s not some poet in disguise. It’s heart-breaking that Irene Nemirovsky, who was killed in Auschwitz, writes sympathetically about the German soldiers, sees them as people, people alas who did not see her as a person.

Anything else you’d like to add?

Just that I love how much Port Angelsund itself is a character in the novel. I think we can all relate to that – how a city in wartime – London say, or Paris, becomes even more beloved, and that it changes irrevocably and is both mourned and celebrated. These cities wear their layers of history like geological strata. I felt so grateful, visiting Kyoto, that it hadn’t been hit with a nuclear bomb. Apparently, it was top of the list of targets for atomic weapons and the story goes that American Secretary of War Henry Stimson took it off the list, arguing its cultural importance, and the military kept reinstating it as a target and finally Stimson had to go directly to President Truman to take it off. Some say he’d visited the city, even had his honeymoon there, and understood what would be lost by bombing it.

Paris of course has a similarly incredible story, told in the book Is Paris Burning? Hitler wanted the city destroyed out of pure spite as the Allies advanced. The city was wired to be detonated – TNT in the crypt of Notre Dame! We need to remember how evil the military mindset can be. According to the book, Paris was saved by German General von Choltitz who kept stalling on Hitler’s increasingly furious insistence that the city be blown up. Some dispute this version of events, pointing out von Choltitz had been a ruthless Nazi up until that point http://cultureandstuff.com/2010/02/12/is-paris-burning-did-a-german-general-save-the-city-of-light/. Whatever the truth, there isn’t much doubt that he could have followed Hitler’s orders and left de Gaulle and the Allies to face the French capital’s blackened ruins. And he didn’t.

And that’s finally the point of fiction, of writing, isn’t it? To show the variability of the human heart, to show how critical each and every individual decision is: not to destroy Kyoto, not to destroy Paris, even in the face of so much tragic devastation. That is so important to remember. Even if you are part of great evil, you can still do a good thing. Hundreds of millions of people owe so much to Stimson and von Choltitz yet they will never know those men’s names. How I wish our current crop of politicians would take that idea to heart instead of doubling down on all their horrendous decisions.

Watch Over Me by Claire Corbett is published by Allen & Unwin, RRP $29.99, available now.

More about Watch Over Me:

The pressure of my blood, the beat of my heart, is a message to you. You read each second of my body’s life.

It is the present day. The foggy northern city of Port Angelsund is under occupation by the soldiers of Garrison. Sylvie is a young woman just trying to survive. When she is singled out for punishment at a Garrison checkpoint, a young lieutenant rescues her from torture. Though she knows the terrible risks of collaboration, she cannot stop herself from falling in love. Watched by Garrison’s vast machinery of surveillance, Sylvie discovers she is also under the protective and suspicious gaze of her lover. When her older brother returns on a terrorist mission that will throw the city into chaos, Sylvie’s loyalties are tested beyond breaking point. Her deep bond with her brother and her illicit passion for her Garrison officer are loves that cannot coexist. Whatever she does is betrayal.

In the spirit of Hiroshima Mon Amour and Suite Francaise, this sensual and heart-breaking novel brings the classic conflicts of war and occupation, devotion and treachery, up to the present minute. While the unimaginable power of modern warfare advances, Watch Over Me reminds us that the things at stake—survival, refuge and love—remain the things worth fighting for.

More about Claire Corbett:

Claire Corbett was born in Canada and has worked in film and government policy. Her first novel, When We Have Wings, was published in 2011 and shortlisted for the 2012 Barbara Jefferis Award and the 2012 Ned Kelly Award for Best First Fiction. Her recent fiction and essays have been published in a range of journals, including The Best Australian Stories 2014/2015, Griffith Review, Southerly and Overland. She has written on defence and strategy for The Diplomat, The Strategist and The Monthly.

Website: www.clairecorbett.com

Facebook: https://www.facebook.com/clairecorbettauthor/

Twitter: @ccorbettauthor
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