Exploring Global Experiences, Writing Processes, and the Art of Historical Narrative
Julieta Almeida Rodrigues discusses her inspirations, writing discipline, and the challenges of historical fiction, offering insights into her acclaimed works and advice for aspiring authors.
Julieta Almeida Rodrigues is a literary force whose work transcends borders, blending rich historical narratives with profound emotional depth. A multi-award-winning author, her debut novel, Eleonora and Joseph: Passion, Tragedy, and Revolution in the Age of Enlightenment, has garnered critical acclaim and numerous accolades, including the Literary Titan Gold Book Award and the Goethe Award for Late Historical Fiction. Born in Portugal and educated at Columbia University, Rodrigues brings a unique perspective to her writing, shaped by her academic background, diplomatic experiences, and a lifelong curiosity about the human condition.
In this exclusive interview for Reader’s House Magazine, Rodrigues opens up about her creative process, the challenges of writing in a second language, and the inspirations behind her acclaimed works. From her vivid recollections of life in 1980s Moscow to her meticulous research into 18th-century Europe, she reveals how her global experiences and insatiable curiosity have shaped her storytelling. With candour and wit, she shares insights into her disciplined writing routine, her fascination with historical truth, and her advice for aspiring authors.
Join us as we delve into the mind of a writer who masterfully bridges the past and present, crafting stories that resonate with readers across cultures and generations. Julieta Almeida Rodrigues’ journey is a testament to the power of storytelling and the enduring allure of history brought to life.
What inspired you to write about the historical settings in your short story collections?
Good you asked this question. I’ve been thinking about this issue lately. My two collections of short stories—On the Way to Red Square and The Rogue and Other Portuguese Stories—were published, respectively, in 2006 and 2014 by New Academia Publishing. These two collections now qualify as historical fiction. I still love these stories and would like to make them available in digital format soon.
I lived in the Soviet Union from 1983 to 1986 as a diplomatic wife, attached to the American Embassy in Moscow. These were extraordinary times, and I felt the urge to put my experiences down on paper. I jotted down notes, maybe twice a week, and I never left them at home; I kept them in a safe at the embassy. This was my way of organizing my thoughts: on what I was seeing, on what I was living. A difficult experience that, as time goes on, I cherish for its unique value.
Keeping my notes in an embassy safe was far from preposterous; it was essential. At that time, the KGB often entered our apartment, particularly when we left for a weekend abroad. Suffice it to say that when we returned home, our fridge was often unplugged. The KGB loved to leave signs of its presence. Since Moscow stores were often empty at that time, and our food had gone rotten, we needed to order a full refill from Helsinki.
As to The Rogue and Other Portuguese Stories, I was born and brought up in Portugal; I only went to live abroad after my first degree. So, I knew pretty well the social, cultural, and political context I was describing. I felt I had things to say. I still do! I like that my perspective is both as an insider and outsider in my country of origin. This is a place where, after a few years, I always return to.
It’s interesting for me to realize that even if I feel comfortable and at ease here, I still have the perspective of an outsider. When I’m in Lisbon now, I feel like a tourist. The city feels new, fresh, and I like it. New and fresh in the sense that, having been brought up in the Lapa quarters by nuns in a convent, I have licked my wounds long enough to feel psychologically safe now.
How has your experience living in different countries influenced your writing?
I am a citizen of the world and inordinately curious. Therefore, my experiences accumulate as time goes on. When I’m at airports, I sit next to people on purpose; I want to hear what they are saying. Someone looking at me would never guess that I’m taking mental notes of the conversation taking place beside me.
Can you share your writing process and how you develop your characters?
I’m disciplined. I sit at my desk after breakfast; I need silence. This is a must in my life these days. Noise, all noise, bothers me. I live with my characters every moment of the day; I wake up and go to bed with them.
The setting of my novel-in-progress is Constantinople during the Ottoman Empire in the 18th century. As I continue my research about the historical figures that constitute my plot, I often realize that those characters are influenced by others. This is why new types show up in historical novels in the most unexpected and surprising ways.
The fundamental issue for a novelist is to portray the truth of their characters’ hearts, even, and particularly, if the author doesn’t especially like them as human beings. This often happens!
What themes do you find most compelling when crafting your stories?
I oscillate between truth and beauty, but truth ends up winning me over. Unfortunately, the concept of truth is being used and abused these days. I like the old concept of truth, the truth of the heart, as previously described.
What I find most fascinating in fiction is that, when characters show up, you must give them their due. Meaning that finding who they are takes time, reflection, and a willingness to go deeper. For me, that’s the fun part of writing.
How do you approach writing in a language that is not your native tongue?
With caution. I live surrounded by grammar books, dictionaries, language compendiums, and what not. AI makes my life easier these days; I might correct my spelling or grammar quicker. Wherever I am, I hear the news in English, a way to keep the language alive.
I enjoy writing in English because it allows me to reach a wider audience, and I enjoy the Anglo-Saxon readership. I enjoy their way of thinking: it’s linear, not circular.
But language is cautionary; I need to be careful at all times. I can write fiction in English, but I wonder if I could ever write good poetry in this language. I might try and find out one day. Poetry is, for me, about the music of a language, the nuance, so I’m not sure I could do it successfully.
What challenges did you face while researching for your latest book, “Eleonora and Joseph”?
The challenges I faced weren’t so much in the research; they involved the construction of the narrative. I was happy only when the dual narrative emerged and I could narrate events from a twofold perspective: I used, concomitantly, Eleonora’s voice and Joseph’s voice.
The use of the dual narrative wasn’t obvious from the very beginning; it emerged as I went along. Eleonora was sentenced to death in 1799 in the Kingdom of Naples. Correia da Serra and Thomas Jefferson met for the first time in Monticello more than a decade later.
Eleonora was the past, but I wanted her voice to be present at all times. As the two men discussed her memoir, it was!
What advice would you give to aspiring authors looking to explore historical fiction?
Follow your heart, follow your instincts. You can approach historical fiction from many different angles. A background in history might help, but it’s not essential. I came to historical fiction from the field of sociology.
Choose the historical period you like most; don’t worry about trends. Trends fade, but if your writing is good, it will survive those trends.
Lastly, take your time. Don’t feel compelled to publish. Set the narrative right…and, mostly, enjoy the writing!
