1. What drew you to writing/working with Classical Antiquity and what challenges did you face in selecting, representing, or adapting particular myths or stories? 

I think it started with my high school Latin teacher, Mrs. Reynolds. She brought the old tales to life – all their passion and intrigue and misery. I got involved in the Latin club, and then in the Latin Forum of the State of Florida. I even ran a state forum one year. When I went to college, I didn't follow up on Latin. But in graduate school, I had to pass a test in reading Latin. I decided not to prepare for it, but just go in and see what happened. I passed – after four years away from Latin. And that's because Mrs. Reynolds was so terrific. The experience reminded me of how much I loved those stories. After that I went for years not doing anything with Latin. But in Spring 2013, a classics professor at Swarthmore, Rosaria Munson, and I co-taught a course on The Hero's Journey. We looked at Virgil's Aeneid, then Dante's Divina Commedia, then Eugenio Montale's poetry – all in the original Latin, then Old Italian, then modern Italian – talking about historical change in language as well as variations on the themes in the different works. It was thrilling reading the Aeneid again. And it was thrilling seeing the relevance of the old works to modern life. ///// In FISH GIRL I didn't think of any particular myth. Rather, I tried to use the ancient feeling that the seas are full of potential. Mysterious creatures live and rule there. Ordinary understandings of how life works don't necessarily hold. Though I didn't put in any snakes growing out of heads or talking animals, I allowed the octopus to grow to enormous size and then shrink again, where emotions were the key to the size changes. And I allowed the fish in Fish Girl's tank to recognize that she was somehow changing and to respond accordingly. 

2. Why do you think classical / ancient myths, history, and literature continue to resonate with young audiences? 

We know a great deal of facts about the world now, many more than the ancients did. But we still lack understanding of many things. For example, we don't even really know how it is that trees manage to pump water up from the ground to their crowns. We've rejected osmosis as the answer – but there is no presently agreed upon answer. And that is a rather mundane thing – something happening around us all the time, but we haven't a clue about what's going on. We are much more in the dark about the arcane things. And the more we learn about both life on earth and space way out there, the more we recognize how little we truly understand. ///// The ancients tried to give reasons for everything... for earthquakes and tsunamis and lightning. They sought to see a comprehensive picture. And within that picture, they tried to adjust to the vagaries of human behavior. I think young people today would like a comprehensive picture within which they could make some kind of sense of the natural world and human behavior within it. It is comforting to see characters in the ancient tales struggle with the same human foibles we struggle with. And it is comforting to see that they too were stupified by natural events around them... different natural events from the ones that stupify us today, perhaps... but no less enigmatic.

3. Do you have a background in classical education (Latin or Greek at school or classes at the University?) What sources are you using? Scholarly work? Wikipedia? Are there any books that made an impact on you in this respect?  

Ah, I answered some of that in question 1. For most fiction work I do that is placed in classical times, I use translations into English of Homer, Hesiod, and Apollodorus. I stay away from Wikipedia on this – although I love Wikipedia for many other things (it is a great source of information about languages and linguistics, for example, because the Linguistic Society of America urges its members to add information to Wikipedia and correct anything that's dubious).

Did you think about how Classical Antiquity would translate for young readers? Absolutely. I did a book for National Geographic called Treasury of Greek Mythology. In there I chose to present the stories that I most love. They were written in Greek, of course, and I don't read Greek, so I had to look at translations. An interesting thing about translations is that the same story is quite differently translated by scholars in different points of history.... or that's what I concluded from my very small and limited study. Looking at translations from the 1700s through today, I found myself making choices based on my own sensibilities – which is what I'm sure those translators did. I also read many of the stories in Latin – in Ovid's Metamorphoses. I suspect that Ovid influenced me most. Certainly with respect to the creation tale. Ovid's words swirl and transform themselves, wonderfully evocative and still illusive. I aimed for that sense in my rendering of the creation tale.

4. How concerned were you with "accuracy" or "fidelity" to the original? (another way of saying that might be — that I think writers are often more "faithful" to originals in adapting its spirit rather than being tied down at the level of detail — is this something you thought about?) 

Yes, this is a major concern I had, more so in Treasury than in Fish Girl, since Fish Girl was a character of my own creation in a more-nearly modern world. For Treasury I always used the details that were in the originals – I never changed them. But I added a modern psychology, which was a personal choice, but I expect that choice was unavoidable. That is, I cannot help but see the behaviors of characters as reflecting the way I, as a person of today, understand human behavior.

5. Are you planning any further forays into classical material? 

I don't plan far ahead. Whatever I'm working on at the moment is my world. Presently, I'm deep into the world of the Ancient Hebrews. But I'm nearly finished with this project. Where I will go next is unclear to me. I have a story in my head set in India in the late 1800s, and I'd like to work on that. But interruptions happen – and I am always open to happy serendipities. Will I ever return to the classical world of Greece? I can't know that – but the stories are eternal fonts of wisdom and pain – so I hope I do.

6. Anything else you think we should know? 

Ha! what a funny question. But I will answer it. People often assume that I know more than I know. It's as though working with the classics gives you an aura of respectability and of nearly encyclopedic knowledge. The truth is, I bumble through things. I'm not afraid to deal with what I don't understand, because I understand so little that if I let that fear stop me, I wouldn't write anything. And, you know, if I fully understood things, I would have no motivation to write. For me, writing is a way of tackling problems, a way of trying to get a sense a peace. But rarely do I ever feel I "know" something or truly "understand" it.

Prepared by Elizabeth Hale, University of New England, ehale@une.edu.au