The Sirens is your second novel, following the success of Weyward. Did you find it easier or more difficult to write it?
It was much more difficult to write The Sirens. In fact, I wrote three completely different versions of it before I began the draft that became the published novel! Second book syndrome is very real. I really struggled with the question of how to guide the reader through this dark period of Australian history. The book finally clicked when I realised that for me – as in Weyward – magic realism was the way to light the reader's path.
The book is mainly set in Australia, where you are from. Did you draw on your own experiences to write it?
Yes, particularly in terms of setting. Comber Bay is actually based on a real location on the South Coast of New South Wales – Bateman's Bay, where my aunt and uncle live. I have really fond memories of childhood holidays spent there, and it was a joy to transport myself back to the beaches and cliffs once again.
At the beginning of the novel some pictures of Lucy are leaked onto the internet. Do you think this is an growing problem which young women face?
I do, unfortunately. I think the internet, social media and mobile phones have been really damaging for young people. I'm particularly concerned by men and boys' increasing use of pornography and how this encourages them to see women and girls as objects. In some ways I feel grateful not to be a teenage girl in today's world. On the other hand, I do think that young women now are much better versed in consent and boundaries than my generation were. They inspire me.
The mythical mermaid is as the centre of the novel. What drew you to write about this particular legendary being?
For as long as I can remember, I have loved mermaids. In fact the first film I can remember watching is The Little Mermaid! Growing up in Australia, I've always been a water baby, and so of all the mythical creatures, the mermaid resonated the most. Because I was writing about Irish convicts, I took inspiration from the ‘merrow’ – the Irish
folkloric answer to the mermaid. Traditionally, the merrow falls in love with a fisherman and is torn between the land and the sea. This to me seemed symbolic of the dilemma that modern women face – the choice between remaining in the patriarchal world and the struggle and freedom of a life outside these social structures.
The narrative alternates between Lucy in the 21st century and Mary in the 19th century. Did you do a lot of research into the history for Mary’s sections?
Yes – I did a lot of research into convict transportation and Irish history and folklore. In terms of the former, the key resource for me was The Fatal Shore by Robert Hughes, which explores the convict experience in vivid, painstaking detail. I was also fortunate to visit the Hyde Park Barracks in Sydney, a brilliant museum about transportation. In terms of Irish history, I found Modern Ireland by R.F. Foster to be an invaluable resource on Irish modern history, especially in relation to British colonisation. Irish Country Life by Olive Sharkey helped me to gain an insight into Mary and Eliza’s daily existence. I also visited the Museum of Country Life in County Mayo, Ireland, which was absolutely fascinating.
Both Lucy and Mary have a close relationship to their sisters, Jess and Eliza. Do you think that the bond between sisters is a special one?
Yes. I really treasure my relationship with my sister. We've always been close. When I was younger I unfortunately had a stroke, and my sister was such a support during that awful time – I don’t think I would have coped without her. The novel is intended as a tribute to her.
Which other authors inspire you in your work?
There are so many! I’ve always loved Maggie O'Farrell’s writing, as well as Kate Atkinson and Margaret Atwood. Another favourite author is Daphne Du Maurier: her first novel, The Loving Spirit, about a family with a special connection to the sea, was a particular source of inspiration for The Sirens. Other sources of inspiration were Chloe Timms' stunning debut The Seawomen and Julia Armfield's Our Wives Under the Sea. I also love Australian author Tim Winton – the way he writes about landscape is so original and beguiling.
What do independent bookshops mean to you?
For me, independent bookshops are a means of escape from everyday life. You can step into an independent bookshop on a busy high street and moments later find yourself immersed in another world. That's real magic.
