Michel Faber: Mih-shell Fay-ber
Michel Faber was born in Holland. He moved with his family to Australia in
1967 and has lived in Scotland since 1992. His short story 'Fish' won the
Macallan/Scotland on Sunday Short Story Competition in 1996 and is
included in his first collection of short stories, Some Rain Must Fall and
Other Stories (1998), winner of the Saltire Society Scottish First Book of
the Year Award.
His first novel, Under the Skin (2000), was shortlisted for the Whitbread First Novel Award. He has also won the Neil Gunn Prize and an Ian St James Award.
Other fiction includes The Hundred and Ninety-Nine Steps (1999) and The Courage Consort (2002), The Crimson Petal and the White (2002). His collection of stories, The Apple (2006) continues the tale of some of the characters from The Crimson Petal and the White. A further collection of short stories, Vanilla Bright Like Eminem was published in 2007. A further novel, The Fire Gospel, was published in the UK in 2008 and the USA in January 2009.
This biography was last updated on 08/14/2013.
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Interview with Michel Faber
The Crimson Petal and the White seems to begin with you, the
writer, personally addressing the reader and then leading him or her into the
intimate details of characters and events. The entire effect is somewhat like
voyeurismin effect gazing into a crystal ball to view another's secrets. Did
using this technique help with character development as you, too, stepped back
to view their lives?
It's actually not so easy to figure out whose voice it is that's addressing you at the startwhether it's the author, or a lady of the night, or the book itself. Whatever it is, it lures you into the world of 1875 until you're in too deep to pull out, and then leaves you to fend for yourself. I use the metaphor of a novel being like a prostitute, promising the reader a good time, promising intimacy and companionship. Ironically, even though you feel at first that you're being strung along by this beguiling voice, you do end up getting everything it promised you. And more, I hope.
I can't agree that the effect is one of 'voyeurism'. Voyeurism implies that you're watching something from a safe distance, with no emotional involvement required of you. ...
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