Pim Wiersinga (1954)
As a boy, I lived in Belgium, the Caribbean, and the USA. During the early seventies, spending the best part of a year in the UK, I acquired a measure of notoriety with Birmingham’s major bookseller’s as that long-haired youngster who purchased one Penguin per week, after perusing three of those during those Saturday afternoons. At the time, I wrote a novella to keep loneliness at bay; little did I realize that this ill-begotten attempt was to be the groundwork for a writing career later in life.
Lady Cao, the protagonist of The Pavilion of Forgotten Concubines, will always be dear to me – as she will be to many a Dutch reader and reviewer. I do recommend her. She is resourceful, witty, full of silent laughter, defiant of the powers that be; yet not without flaws. She singlehandedly cheers up crestfallen concubines discarded by their Emperor; and she will inspire old Chun Xian to an unprecedented resilience.
Writing never stops. In 2016, I completed Eleonora, Queen of Love, an epic tale set in the heyday of the troubadour era, dealing with the fine art of courtly love. And while I am mired in the English translation, another idea is unfolding itself – a dark and tragic tale, set in ancient Alexandria.
I write in a classic tradition – with lyrical overtones strictly my own. History is my element. If I only could, I’d write historical fiction set in the here and now; never is it my intention to glorify the past. Facts may align itself to known history; but dramatic dynamics must align themselves to our deepest fears and fantasies.