Philippa Rees

I was born in South Africa in 1941 and, looking back, realise my solitude (only child, single mother) was the root of all enrichment in other directions, necessarily spending  school holidays on safaris with my beloved multilingual grandfather inspecting schools in the remote interior of Botswana, or later on horseback with a Austrian doctor attending mountain clinics in Lesotho. My galleon grandmother had known Cecil Rhodes, and Jan Smuts and was related to Elizabeth Barrett Browning and her family had had a significant role in the life (and death) of George Eliot’s stepsons. All this extravagant narrative washed over my head, and I believed none of it, until recently when the evidence of all of it came to light. I discovered that much too late. However independent minded women… and the virtues and necessity… of independence loomed large from an early age.

In early years I shuttled between rigid boarding schools  trying to be Roedean and the wild freedom on Noel, my horse in Lesotho. Later consolation was to be found in literature, and two inspiring teachers, one English— The Metaphysical and Romantic poets, the other Theology and comparative religion.

At University after indecisively sampling five faculties( such a rich choice of culture, where did one begin?) I fell into Psychology and Zoology under both the seminal palaeontologist Raymond Dart and the ‘father of embryology’ B.I. Balinsky. Then marriage to a marine biologist/photographer involved deserted mangrove islands in Mozambique scouring mud flats for supper (lavish sea food, lobster, crab, and coconuts and cashews for an exiled ( (and bored) five star chef to turn into dinner- salary was a mattress and his helping)  but starved for company. Then the sophistication of the Max Planck Institute with Konrad Lorenz in Bavaria, living in an 11th Century Mill with an unrepentant Nazi landlady (who, by then, should have been extinct but was alive and well and playing Schubert.) Then it was Florida (in love with an air-conditioner) until the experiences that led to Involution sent me into exile. En route I spent time waiting for a divorce in Yucatan where I met the girl commemorated in 'Shadow' I landed in Southampton with five pounds , two small children and an academic manuscript…

The academic underpinning of Involution was offered in lectures on Saints and Scientists at Bristol University, while building a home and an arts and concert hall for chamber music, raising four daughters, and living in Somerset, which continues. I have now short stories to attend to. They sit easier.

Interview

1. Could you tell us a little bit about yourself?
 
I grew up in South Africa, a country that now hardly exists as it was, psychologically speaking. My family straddled all the divisions, both Boer and British, Black and White, and as an only child I went from extreme liberty with my horse in Lesotho, to imprisonment in boarding schools. My holidays were spent on safari with my grandfather inspecting schools in the most remote regions, shooting for the pot and camping under the stars. I was very lucky in liberty.
 

2. Describe your book A Shadow in Yucatan in 30 words or less.

It is a poetic evocation of the sixties, the euphoria, and the free-living told through a story that echoes both its optimism and ultimately its disappointment.  
 

3. What was the hardest part of writing your book?

It is a true story recounted by the main character to whom it happened, so mythical, and harrowing I wrote it as a tribute to her suffering and courage. Also as a tribute to all who shared the belief that better times, and more generous living ahead were inevitable. I wanted the words to echo the music of Dylan, Baez and Joni Mitchell and above all to carry the atmosphere, so every word had to be measured, and every phrase shaped to that end- without being contrived. It is the work I am proudest of. It even makes me cry!
 

4. What books have had the greatest influence on you?

I love works that love language, that serve truth and don't hold back. 'By Grand Central Station I sat down and wept' by Elizabeth Smart; Under Milkwood by Dylan Thomas; and recently The Garden of Evening Mists, as well as sharply observed gems like 'To Kill a Mockingbird', and then all of George Eliot- works that expose important issues, or which inform me about things I don't know anything about like The Restorer by Daniella Murphy, or The Historian… or The Fencing Master and most from South Americans like Marquez, Allende whose characters are so rich…I could go on searching memory, for ever. Contemporary British works are probably the least read, since I can no longer travel physically I like to travel in the mind, and go elsewhere.
 

5. Briefly share with us what you do to market your book?

Not enough obviously! Yucatan is not even quite officially 'out' but Freado was the first step in making it available for perusal, I tweet when I find time, and I am planning an audio version which I may well put on YouTube. I am more concerned to be read than to sell. My other book Involution has been prominently reviewed, and articles commissioned, and talks invited and that continues.
 

6. How do you spend your time when you are not writing?

What time would that be? I used to play the cello, run an orchestra, build houses, garden and I vaguely remember relaxing. Now I write, and write about what I've written, and try and review what others have written.
 

7. What are you working on next?

I am collecting short stories that show the contrast between characters influenced by the New World and the Old World to explore the influence of country and climate on people and their attitudes to one another. One has just been a finalist in Narrative Magazine's Winter Competition and is due to be published soon, but I intend to publish them as a collection, tentatively entitled 'Minding the Gap'.

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