Christian Moerk

Christian Moerk has always told stories. Born into a family of actors, he realized when he was quite young that he’d rather tell the tales himself than interpret other people’s words on stage. But he sucked in the words. From Richard III to Faust.

At 21, he left his hometown of Copenhagen, Denmark, and moved to southeastern state of Vermont, deep in the Green Mountains, where he stayed long enough in the mud and the cold to graduate summa cum laude in History and Sociology from Marlboro College, 1991. They gave him the Margaret Mead Prize for the best social sciences thesis, which dealt with the British Empire in India. He didn’t want to be an academic, though. He wanted to write a book. But didn’t feel the time was right yet. Vermont was too cozy.

So he next went to New York City, where he spent enough time riding along with the police department and the ambulance services, and scouring the darkest alleyways he could find to attain his master’s degree in 1992 from the Columbia Graduate School of Journalism. He was awarded the Henry N. Taylor Award as the best foreign student in his class for his thesis “Alien Nation,” which dealt with the lives of illegal Irish immigrants in New York. He began formulating ideas for a book. But it still wasn’t ready to tell it.

Before he could work on it, he got a job at Variety, the entertainment industry’s trade paper of record, where he first covered independent and European film before moving to Los Angeles. Once there, he was quickly headhunted by Warner Bros. Pictures then-President of production Bruce Berman, who gave him the chance to learn the movie production trade. He was given an office on the Warner lot, and couldn’t believe it.

For the next several years, Christian was awash in stories – but they were still other people’s stories. He was involved in the production of small art pictures, such as Neil Jordan’s Michael Collins and The Butcher Boy, and also held a hand in the making of bigger blockbusters like Eraser, The Devil’s Advocate, and Outbreak.

Christian moved back to New York City, and began to write stories for The New York Times, interviewing directors like Wes Anderson (Darjeeling Limited) and Bennett Miller (Capote), while preparing to make the leap from journalist to novelist.

A story kept tapping him on the shoulder. He rummaged through his old files and found a yellowed newspaper clipping he’d kept from years back. It was an article detailing the strange and mysterious death of three nieces and their aunt, who were found in their suburban house in Ireland after months of living like shut-ins.

From there, Christian imagined a different story, in which the tragic end in that house was merely the conclusion of a gothic love story that began in a tiny fishing village on Ireland’s ragged, beautiful western coast. And he finally began to write his own words.

Darling Jim swept the Danish critics in September of 2007, selling more than 38,000 copies there to date, with rights sold to thirteen other countries, so far. It reached number four on the local bestseller list. His genre is best described as intelligent suspense with an emotional core.


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Christian Moerk on writing his book Darling Jim

Hear author Christian Moerk talk about writing his novel Darling Jim. This widely acclaimed debut novel—about three sisters, three tales, and a very dark secret—is a “chilling bedtime story for adults.”—People magazine. A young postman uncovers a dark secret and embarks on a dangerous hunt for the truth.

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Q & A

You grew up in Denmark, and have lived in Vermont and New York. While you’ve said that this story grew from an actual Irish newspaper story, it obviously could have been relocated elsewhere. What was the draw of Ireland itself for you? And with so many great Irish authors already out there — including a great batch of Irish crime/suspense writers — were you at all intimidated by stepping into that territory as an outsider of sorts?

I really wasn’t intimidated by the Irish literary talent, from Joyce and on down to Roddy Doyle and Pat McCabe; perhaps I ought to have been. I don’t read crime novels, really. Not because I have anything against them, it’s just that they’re often narrowly focused on finding the killer. I, on the other hand, want to tell a larger story of the people he touches on his way. I just stayed focused on my story, because if I’d sat down and thought about the local literary giants in the least, I would have been terrified, probably, and given up the ghost.

I have to admit that, on the face of it, it sounds pretty absurd to have a Danish guy living in America for 22 years go to Ireland and take on the language as his own. Probably just as well that I went and did it without thinking about that part too much. As it was, I felt energized about setting a story in a country I’ve loved and admired for many years ever since flying back and forth between Los Angeles and Dublin as a lowly film executive. But naturally, I was an outsider, and I used that in the book; the way that poor Niall can never quite penetrate what’s going on around him; the way people regard him with suspicion – all this was drawn from my own experience of holing up in a small boarding house in the winter and spring of 2007 and writing like a fiend, fueled only by Mrs. Crimmins’s scrambled eggs and tea, while trying to avoid her curiosity about why I had really come to Castletownbere.

Ireland does become the invisible extra character in the novel, doesn’t it? Not every country can pull that off. Ireland, way out in its outermost regions, has resisted modernity. For me, it’s still one of the only countries in Europe that retains unruly smudges of history you can’t gentrify or modernize with a penstroke or a community plan (which is why I put Niall in Ballymun; a place that will be proudly North Side no matter how many cappuccinos they serve). Ireland’s remoteness from the Continent, its recent violent political history, and its willingness to embrace folk tales and myth (I often had dinner guests make up narrative songs about the day’s events, which they performed at the drop of a hat) all make it ideally suited for my story of wolves transgressing the way human beings do. That’s why I don’t agree that the story could have been set any place but in Ireland; the family patters, traditions and respect are all so particular that the interplay between Aunt Moira and her three nieces would not have been believable if I’d set the book in, say, upstate New York or New Hampshire. Small-town Irish religion, even faded, is an important underpinning that doesn’t exist any place else, either. West Cork is the only place this could have happened in my mind, anyway.

The novel draws on the seanchaí tradition and includes in its own structure several layers of storytelling. Even a few pages into the book, we get Desmond’s story (which also includes the townspeople’s various takes about what might have happened to the dead women), the beginning of Niall’s story (which includes him wanting to be a storyteller of a sort himself with his artwork), then Niall reading Fiona’s book, which is not only marked by a desire to tell "the true full story" but also relates its own fascination with the storyteller at the novel’s core; and then Jim himself with his own stories, another layer. And that’s only the beginning of where all this goes. Was this structure something you’d planned from the start? If not, how did those layers emerge in your own quest to tell this tale?

I planned it all from the start. As a big fan of Kurosawa’s 1951 film "Rashomon," in which a violent incident between a samurai, his bride, and a robber are recounted from each person’s point of view, I wanted to attempt a multi-layered story in which each scene becomes part of a daisy chain; the more you pull on it, the more will be revealed. But I will tell you that the characters often grabbed more space than I’d planned for them originally; Bronagh the dour, guilty cop, for instance elbowed her way in and showed she could be more than just a plot point. Likewise, desperate Aunt Moira took on many more colors once I’d decided not to treat her as a villain; her need to be loved made her multi-faceted, which is much more fun. But even with the structure I’d laid out – I always write a 75-page treatment before I start writing the book; it’s a chronological spine, complete with plot transitions, some dialogue, and main dramaturgical points – the story itself shifted direction a few times, forcing me to stay on track. Like a Russian doll, really.

While oral and written storytelling takes center stage, there’s a strong visual element to the narration as well. You’ve worked in filmmaking yourself and written about films and filmmakers. How did that background in the visual arts impact your work as a novelist?

I think it’d be dishonest to deny that I think very visually about introducing each scene. Naturally, as you can see, I often become a camera made from flesh and blood when I peer over the ridge to see the lights on a graveyard poor Niall is about to walk near, or see how the bay has been swept clean of boats; I do use the visual medium to ground each scene before diving into each person’s psyche. It’s probably second nature. I don’t think of it as I do it. I find it natural to set the scene. Anything else feels like cheating.

Darling Jim first appeared in your native Denmark. Did the book change at all as you translated it for English-language readers?

I should clarify that I wrote Darling Jim in English first, not the other way around. The 2007 Danish version, then, was the translated version (and I translated the novel myself). This is because I write all my novels in English first, then translate them right afterward for the Danish home market. So, in other words, the Danish version was not the original, even though it was published first. That’s why I’m so delighted to finally have someone read the story exactly as it was intended.

I couldn’t do a straight translation from English into Danish, because the languages and the tools they have in their idiomatic arsenal are so dissimilar that I had to re-shape many expressions to fit – in this case – Danish ears. Swearing, for instance, takes on a different tone in West Cork than it would in Copenhagen. Ireland is filled with local expressions that are untranslatable, such as "gobshite" or "manky." That meant I had to invent some, or jam existing Danish one into the same hole to see if they’d fit. My U.S. publisher has retained all the Irish-isms and resisted the urge to Americanize the dialogue, which I’m so grateful for – anything else would have been a disaster.

Most readers in Denmark still have no idea I conceive and write in English first – they’re convinced I start in Danish. And most Americans have looked for the "translated by" credit somewhere and have been confused not to find it. And the answer is simple. It’s just me and my bifurcated head.

Christian Moerk’s conversation with Art Taylor was originally published on the blog Art & Literature (artandliterature.wordpress.com), and an extended version of this conversation can be found there. Reprinted by permission.

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Darling Jim

Christian Moerk
St. Martin's Griffin

The widely acclaimed debut novel—about three sisters, three tales, and a very dark secret—that’s a “chilling bedtime story for adults.”—People (three...


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