Grace McCleen on Her "Land of Decoration" and Finding Music in Words
This spring, I became captivated by The Land of Decoration, a debut that made our list of the Top 10 Best Books of April. Grace McCleen's visionary novel (widely compared to Emma Donoghue's Room) grapples with immortal questions, especially for children raised in religious doctrines at odds with mainstream belief: how do you feel your way to the truth when faith blurs with madness, when pious parents may be oblivious to your pain, when your sense of Divine control dissolves? As I've watched the customer reviews roll in, it's been fascinating to see how the book resonates with readers on different levels, depending on their own childhood experience and beliefs.
Judith, a bright 10-year-old in a poor Welsh valley, gets bullied for her faith in the impending End Times, and her life with her devout widower father feels oppressively quiet. So (almost as an act of creative self-defense) she makes an intricate replica of her town within her room, expanding and populating a world made from candy wrappers, shoe laces, sticks, and other cast-off bits. Then she discovers that her actions in her miniature world give her miraculous abilities (to save or destroy) in the real one, and what seemed like the voice of God may be something more sinister.
McCleen's writing felt so visceral that I believed it must spring from an intensely imaginative spirit or the power of personal experience. Now I know it's the result of some miraculous combination of the two--and a rare talent.
Her website offered clues into the remarkable scope of her creativity, including beautiful paintings and sculpture, and a village of 140 little people she made "when I wasn't well and awake at night a lot." Her bio says she's "interested in sound, in the spiritual dimension, in miniature, and the natural world," all forces she unleashes in this book. I also found myself beguiled by her songs, amazed by her note that at the time she recorded them, "I thought I was going to lose my speech," a circumstance that makes her vocal poise all the more remarkable. The haunting "Preacher's Daughter" thematically overlaps The Land of Decoration.
I reached out to Grace to find out more about her experience with writing the book, and how her art and music inspire her writing, and vice versa. Here are the highlights.
How did you first hear Judith’s voice—or did her story arise in part from your own life?
The passage opening The Land of Decoration came from a long unworkable novel, out of the blue one day, and I asked myself who would be speaking, what their environment might be. I was very ill at the time, and every paragraph and page was a feat in itself. I think that struggle reveals itself in the depth of the emotion in places (which perhaps verges on the melodramatic), and the pedestrian, 'numb' prose in others, as I was feeling either numb or very great emotion.
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