Earlier this week, Shani Boianjiu explored the book of Jonah and writing her debut novel in a foreign language. Her blog posts are featured on The Arty Semite courtesy of the Jewish Book Council and My Jewish Learning’s Author Blog Series. For more information on the series, please visit:
When I first started writing, I loved reading advice for writers from my favorite authors. Yet there was one common piece of advice I didn’t quite get. Whenever writers spoke about letting the characters control the story, I became skeptical. It sounded a bit too fluffy and hazy for my understanding. I had no idea how to implement that advice. After all — I was the writer. I was the one deciding my characters’ fate. What does that mean, in a practical sense, letting the characters control the story?
I still don’t fully get that advice, but after gaining more experience writing, I have learned that in order to produce my best work I have to be willing to abandon many intentions I had for a story when I first began writing it. This is probably one of the hardest things that I had to learn to do as a writer. Every writer comes to the page bursting to say something. Yet I found that in order for a story to work one must be willing to abandon their original intentions in the service of what works best on the page.
A few months ago I googled myself and found a bunch of thoughtful responses (both favorable and less favorable) that engaged with one of my just-published stories, “Means of Suppressing Demonstrations.”
Some responses, however, treated the story as if it was non-fiction, and clearly in service of one particular opinion or another. Because the story was fiction, I was surprised to read these polar opposite responses from people who held strong opinions on both sides of the Israeli-Arab conflict.
Some viewed the story as pro-Israeli propaganda and claimed that it was degrading to Palestinians, while others claimed that I must hate Israel, and that I’m trying to profit by negatively portraying my own country. The language of the responders on both sides was far less kind than my summary of their sentiments.
I was pleased to see that other readers pushed back on these purely political interpretations of my story, and that they urged for it to be understood as fiction. I think the fact my story managed to enrage people with opposite political views is actually an odd kind of accomplishment. The irony is that one of my story’s central themes was the absurdity of the war of narratives that is happening in the West regarding the Israeli-Arab conflict.
A passionate war of narratives regarding this conflict has been going on for ages. People on both sides are eager to evaluate everyone and everything only in regards to how that person or work of art either agrees or disagrees with their point of view. Although I wish my work could be evaluated only as a work of art, I know that because of my subject matter that may not always happen.
While many differing interpretations have been given to the choices I made in that story, the truth is I feel as though many of those choices were not up to me. They were in service of the story. Whatever my original intentions were when I began writing that story, it was the story itself that dictated my later choices and brought me to write from my characters’ perspectives in the ways that I did.
Shani Boianjiu was born in Jersualem in 1987. She served in the Israeli Defense Forces for two years. Her fiction has appeared in The New Yorker, Vice magazine and Zoetrope: All Story. Shani is the youngest recipient ever of the National Book Foundation’s 5 under 35, and The People of Forever are Not Afraid is her first novel. She lives in Israel.
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