Elizabeth Kostova is the author of The Historian
(June 2005), a chilling historical mystery that reaches from the present day into the medieval past of Vlad the Impaler, Wallachia's barbarous 15th century ruler whose gruesome deeds gave rise to the legend of Dracula. In The Historian
, Kostova's characters hunt the immortal Prince Vlad across twentieth century Europe, from ancient village to dank crypt in a quest to destroy the vampire.
Kostova, a graduate from Yale and The University of Michigan's MFA program, spoke with me about her novel which is quickly topping the bestseller lists.
I know you've been asked numerous times why you wrote about Dracula. Would you like to describe for our readers how your fascination with the character began and how it has evolved since its inception?
When I was a little girl, my father--a professor--took his young family to Eastern Europe on a fellowship. We traveled in Eastern and Western Europe, and along the way he amused me with a series of pleasantly creepy tales about Dracula. His stories were based on the classic Dracula films he'd grown up on. I loved these stories, and because of them Dracula has always been associated for me with travel and with beautiful historic places in the Old World.
About eleven years ago I suddenly wondered if that scene--a father telling a young daughter tales about Dracula as they travel through Europe--might make a good structure for a novel. Once I started working with this idea, I decided to use the historical Dracula as well, and the book evolved into a historical novel with a lot of research along the way.
While writing The Historian
you decided to pursue an MFA. Why was that?
After I'd worked on the novel for eight years, I decided to go into an MFA program, not so much for the novel itself as to have a writing community. I attended the University of Michigan MFA from 2002 to 2004 and it was one of the best experiences I've ever had. It gave me time to finish the book and also tremendous encouragement. The critiques and help I got there pushed me to rewrite the book thoroughly, too, after I'd finished it.
With it's attention to historical accuracy, The Historian
sets its gaze more upon the historical figure of Vlad the Impaler rather than his mythical alter-ego, Dracula the Vampire. Where does the history stop and the mythology begin?
I took a real historical mystery, the question of where Vlad the Impaler is buried--or what became of his remains--and spun out a fictional speculation from there. The other historical events in the book are real ones, carefully researched, although the twentieth-century characters are fictional.
On another level, this is a novel about the power of books. Could you elaborate on this motif?
I feel that books are the real keepers of history. I find it wonderful and eerie that language lasts so much longer than people, and that a book can transmit history from one generation to another, whether or not it's actually a work of history.
The narrator of The Historian
remains unnamed. Why is that?
I left her unnamed as a literary experiment. I wanted to see if I could give her a full personality without the handle of a name.
MF: The Historian
is a tale told largely through letters. What made you choose to write this as an epistolary narrative?
I've always loved letters, real and fictional. There's a great intimacy about writing or receiving a letter, and in a novel that translates to some kind of closeness between character and reader.
I'd love to hear about your writing practice. I imagine you sequestered in a large room with books, historical volumes, notes, and maps strewn and pinned up all about.
Dusty old volumes on the wall
a skull with a candle dripped on it
if only! (laughs) No, it wasn't like that at all. I was so busy trying to make a living, I just wrote whenever I could. Each day, I looked at the next day's schedule and tried to figure out where I could find time to write. Sometimes that was 20 minutes in a day, and I wrote what I could get done in 20 minutes. Sometimes that was four hours, and that was blissful. I really had to learn to be very flexible.
I think in a way that was a great lesson for me. Sometimes I had to get up very early in the morning. One summer, I was working hard and I wrote from 5 to 7:30 every morning. Often I wrote late at night. For instance, if I was on a trip I took a notebook and wrote a scene or two long hand. I wrote in waiting rooms, doctors offices, red lights... wherever I could.