Author Dianne Ascroft, who writes historical fiction, offered me a wonderful interview.
Her questions are some of the most enjoyable I’ve received and as I explore the path of The Munich Girl in my current memoir writing, they’re especially helpful:
Describe how you use a mixture of historic figures and invented characters in the novel.
Characters who were real people require research accuracy, of course. A paradox I encountered is how very much information published about Eva Braun is inaccurate, including many photos in which someone else, including her own sister, is identified as her.
While she’s not the protagonist, I was looking for more of the emotional story that her life showed. The novel’s goal has never been to try to exonerate or “redeem” her, or how she is perceived. She’s an excellent motif for examining how people, especially women, suppress our own lives, and what forces and factors lead us to do that.
She also offers a way to look at the reality that human beings are complex. She clearly had a conscience, and acted on it, tried to make good choices.
She also made ones that served neither herself nor others very well. Do we negate or devalue the contributions that someone makes because they also do things that are misguided, ill-advised, or even personally destructive? Do we not all share this same complexity in experience? These are themes I wanted to explore.
PER: As closely as possible when it came to information from the WWII era and the years that preceded it in Germany. As my husband says, if the characters ride a train on a certain line at a certain time of day, there had to really be one.
There’s a lot of factual information in The Munich Girl and I’ve heard from readers that it can be hard to know where the factual leaves off and the fiction begins. It’s easy to know where: in the emotional lives of the characters, including those people that history remembers. That’s where my own attempt to read between the lines of daily life watched for the signs of interior life I could recognize and convey as the story revealed itself.
PER: This was one of the most delightful parts, for me, as I spent extended spans of time in various locales in Germany that are a part of the story.
Also, in the time I spent poring over Eva Braun’s photographs and films, I got to know both the interiors and exteriors of the settings as they appeared during the 1930s and ‘40s.
There often seems to be more scope in historical novels for male characters rather than female characters.
Do you prefer to write one sex or the other. And, if so, why?
PER: I love stories where there’s a balance that hints at what a world with equality might look and feel like. This novel has a lot more scope for female characters. At its heart is a friendship between two women, one of whom was a megalomaniac’s mistress, and the effect their emotional intimacy had in each of their lives, and in the lives of those who came along in a next generation.
But it’s really about two facets of human experience that matter a great deal to me, ones I imagine are still characterized as more “feminine” than “masculine,” though I believe they apply in all of our lives. The first is the inner reunion of “coming home to” our truest self that we all must eventually encounter. The second, and even more intriguing facet, for me, is the mysterious role that others play in that process, often in highly unexpected ways.
One particular paradox I discovered might open the door to a deeper conversation about gender equality, one that examines it from the perspective of human virtues. It’s that the qualities of compassion and care that Hitler and the Third Reich sought to demean, reject, and suppress are precisely what he came home to Eva Braun for. This unexamined and very common imbalance, which distorts and abuses the value of the very things we need to heal as a world, continues to play out on a massive, violent scale in human life.
Find the full interview here: https://dianneascroft.com/2016/08/05/meeting-the-munich-girl/