The interviews were conducted by Magdalena Gigova
On the eve of announcing the nominations in the most prestigious competition for an epic work in our country, the National Literary Prize for Novel of the Year, organised by NEF ‘13 Centuries of Bulgaria’ for the ninth time, we asked three identical questions of the winners in the last three years.
Elena Aleksieva, 2019 ‘Novel of the Year’ Prize for ‘Saint Wolf’:
“I do not distinguish between the award-winning and the nominated novels. It is the increased attention to these books that is important.”
Since receiving the ‘Novel of the Year’ Prize, have you written another novel? Or did your work take a different direction?
(laughing) This is really a trick question! I wanted to. I haven’t written it yet, but let’s say I am writing other things and thinking in that direction. By the way, I don’t know if it has some bearing on the prize, or just because things happened the way they did, but later I came up with some ideas related to the novel ‘Saint Wolf’. Without looking unnecessarily flirtatiously secretive, I shall not say any more because I have noticed that when I announce what I am planning, I usually fail in it. Because when I say it, I get the feeling that I have already done it. I lose interest. That is why I am not saying anything now and I hope to make it happen.
Did you feel more positive or more negative energy from those around you after being awarded the ‘Novel of the Year’ Prize?
It would be very strange if I felt negative energy. Although, in art-related circles, we know perfectly well that the feelings of those around us are always very mixed. But, to be honest, I have not sensed any such feelings directed towards me. I wouldn’t be surprised if they were there, but, as a whole, I admit that for me this award had a very positive result. It played a very, very big role in drawing attention to the novel, and for a book, there is nothing more important than that.
Have you gained a certain self-confidence as a writer? Are you more confident when approaching the ‘white sheet’, even though it has long been non-existent?
I differentiate these things a little. When I write, I am always extremely given to self-doubt. I know that nothing can be taken for granted and that sometimes one over-relies on oneself. However, I still distinguish between my searching in literature, which for me is something very personal and intimate, and the further perception of what has come out—both from readers and those who grant the awards. Naturally, this gives some confidence. Every stroking of the feathers is very pleasant. One says to oneself, ‘Well, I have been writhing around so much, it was so hard for me, I wanted to throw everything overboard; I said to myself, “I am not any good at it, why am I doing this job at all.” But in the end, it turns out that it does make sense. And this sense does not directly link to: Hup! I wrote a book. There, they are giving me a prize’, but to the fact that what you have done has obviously provoked a strong enough response to lead to an award. Although in this case, I would not differentiate between the nominated novels and the one that was awarded. Because the nomination itself means increased attention to these books. And this is the most important thing.
Zahari Karabashliev, 2018 ‘Novel of the Year’ Prize for ‘Havra’:
“More important than the sentiments of this or that author is the self-confidence of the ‘13 Centuries of Bulgaria’ Fund.”
Since receiving the ‘Novel of the Year’ Prize, have you written another novel? Or did your work take a different direction?
I wrote a short story, two plays, and I am finishing a novel.
Did you feel more positive or more negative energy from those around you after being awarded the ‘Novel of the Year’ Prize?
Positive, of course. Although I wouldn’t have let negative energy influence me if I hadn’t won the prize. I think, if we let awards determine the positive, or the negative sign of our feelings, there is probably something in us that we need to focus attention on. And it is not writing.
Has your self-confidence as a writer increased, or it is not affected by awards?
Before I had the self-confidence of a writer, I had lived 40 years in this world with the self-confidence of a free man, and I think that is more important. There are many literary awards that I have not won, and there are even more that I will never win, so it is better that my self-esteem is not affected by this. In addition, I think that the purpose of a literary award is not to raise or trim someone’s self-esteem, but to send meaningful and reasoned messages to the world of letters—these are the books we choose to nominate this year. They are all significant for one reason or another. But here, it is this particular novel that we award from among the others, it is first among equals. More important than the sentiments of this or that author is the self-confidence of the ‘13 Centuries of Bulgaria’ Fund. This is the most significant literary award in our country. Let it stand tall.
Momchil Nikolov, 2017 ‘Novel of the Year’ Prize for ‘The Last Territory’:
“The self-confidence of the writer is something he must be able to control and use in aid of writing.”
Have you written another novel since winning the ‘Novel of the Year’ Prize? Or did your work take a different direction?
Oh, I can hardly imagine that my creative work would take a different direction—for example, to begin painting or composing music. I just don’t have the necessary skills, not that I don’t want to sometimes. That is why I stick to writing; I managed to write a novel that came out a few months ago. It is entitled ‘Chekmo’, and it is completely different from ‘The Last Territory’.
Did you feel more positive or more negative energy from those around you in the months after the awarding?
Positive, of course, at least that’s what I remember. Many people congratulated me, rejoiced; I also rejoiced, it was good.
Has your self-confidence as a writer increased, or is it not influenced by the awards?
The self-confidence of the writer is something that he must be able to control and use most of all to aid his writing; this is its only meaning. I shall explain: I have a very simple scheme that I follow when I work—when I sit down to write, I say to myself: look now, you are a very good writer, you know all the tools of the craft, your idea is excellent, you possess the necessary energy, and there is simply no way that a great book won’t come out. Now, while I write, I write with the confidence of a person who is creating something extraordinary. When I am done, however, and begin with the editing—which is a very essential part, sometimes taking quite a long time—I start with exactly the opposite attitude. I tell myself that this book, which I have written, is very bad, and that if I do not try to improve it, if I do not find the mistakes in it, the weak and illogical moments; if I do not remove the superfluous, it will be a complete failure. Well, so much for the writer’s self-confidence and its use.