Interviews

Q: How old were you when you first read the Chronicles of Narnia?

A: Getting on a bit, actually—late teens or early twenties, as I recall. The thing was I read Lewis's science fiction first: Out of the Silent Planet, Perelandra, That Hideous Strength. Absolutely adored them and went hunting for more. When there weren't any more, I turned to Narnia in desperation. With a title like The Lion, the Witch and the Wardrobe, I thought I might be buying something for tiny tots, but instead I found a new Lewis love.

Q: What is it about Lewis's writing that captures you as a reader?

A: I'm hugely attracted to his cosmic vision and the spirituality of his themes. The literary critics I've read all seem to see this in terms of religion—specifically Lewis's Christianity—but I don't think religion has very much to do with it. There are certain great mythic stories that reach out to us down the centuries and Lewis taps into this stream.

Q: Is there a character in Narnia that you particularly take to?

A: Oooh yes—I really fancy Jadis, the White Witch. I've always liked bossy women (you don't have to think when you're with them) and villains are far more interesting than heroes. Besides, she's tall, which is very attractive in a girl, and I heard somewhere that she was descended from Lilith, Adam's first wife. Rabbinical lore has it that Lilith was a hairy demoness. With an ancestry like that, how could I not be fascinated?

Q: There are countless stories of good vs. evil in our culture. What makes the Chronicles of Narnia special?

A: We're back to your second question here. The story of Good versus Evil is one of those great archetypal themes I was talking about that reach directly into the human soul. It's not that Narnia is especially special—it really makes no sense to compare, say, Lewis with Tolkien, who dealt with the same theme. If you can write anyway well (and Lewis certainly could) then the choice of theme automatically makes your work special.

Q: What kind of impact did Lewis's Chronicles of Narnia have on your writing?

A: Do you know, I haven't the slightest idea. Critics are always finding stuff in my writing I never knew was there. My problem is I write in a sort of trance, never plan anything, find characters rather than create them, and can't say how the book will end until it's finished. When I finally climb out of the mess, I usually drink some gin so I'm seldom in a fit state to analyze my influences. [Editor's Note: Kids, don't try this at home. Herbie is a) a trained professional, and b) over 21 years of age.]

Q: Are there any similarities between Narnia and the world of Faerie Wars?

A: Yes. They're both concerned with real people caught up in cosmic themes.

Q: If you could send one of your Faerie Wars characters through the wardrobe, who would it be? What do you think they'd do there?

A: I think I'd send Henry through. Pyrgus would get diverted rescuing fauns, Blue would simply take over from the White Witch, but Henry has a real nose for bumbling through and setting things right, which is what Narnia needs when you go through the wardrobe for the first time.

Q: What are you working on right now?

A: A Magician's Memoir. I've practiced magic secretly throughout most of my life and now I've decided to come out of the closet and tell it like it is, trolls and all. Non-fiction, autobiography, and very, very spooky to write. Offers from publishers, preferably mentioning a gigantic advance, should be directed to my London agent.

Q: Are we likely to see any more Faerie Wars books in the future?

A: Ah, never say never. Faerie Lord finishes Henry's story, but I had emails from readers saying they cried at the end because they missed the characters so much. And the realm is still there, lurking. No immediate plans, but my writing has been out of control for years and I can never tell when something like that will come back to haunt me.

Q: What's the best teen lit book you've read this year?

A: Let me tell you something. Most of the time I read books for ideas, which is why science fiction has attracted me for so long. But lately I find adult authors are losing it and the really exciting ideas are appearing in teen fiction. There's one writer in particular who just keeps them coming, and that's Kate Thompson. She's not a super-seller, although she has literary awards coming out of her ears, but she should be. If you haven't read her already, you don't know what you're missing. Start with her Origins trilogy and then, when you've recovered from the shocks, just grab anything with her name on it: I promise you will not be disappointed.

That said, the best teen lit book I've read this year wasn't by Kate at all. It was Mortal Engines by Philip Reeve (which was published a few years ago, but I'm slow about these things). It's utterly brilliant, very exciting, and bursting with really quirky, off-beat ideas. So brilliant I've forgiven him for forgetting who I was, even though he illustrated one of my books before he became rich and famous!

And while my friend Eoin Colfer needs no help from me in selling his books, I want to mention the graphic novel version of Artemis Fowl adapted by Eoin and my old mate Andrew Donkin. Graphic novels are tricky and you have to have a really strong story line to make them work, but I thought this one was super. In some ways I enjoyed it even more than the original.