There’s something of a mystery about how any work of art gets started, what scraps and odds and ends of experience come together to give it eventual form and shape. As often as not it’s a mystery to the creator of that art as well. In the case of The Hunt for the Great Bear I am aware of some of the random roots and influences of the work, so I thought I might put them down here.
First and foremost there’s my interest in myth and epic literature, and my long-held desire to write something that had that epic, mythic quality, but that could still speak with some urgency to a contemporary audience. And speak about something of urgent concern – human beings’ relationship with the natural world. One of the Greek epic myths that has always struck a deep note with me is that of the “Calydonian Boar Hunt”, and it was when I read, years ago now, Lawrence Norfolk’s excellent novel that dealt with that narrative “In The Shape of a Boar” that I thought I might one day attempt something like that myself.
More recently, there were three experience that pointed me in the direction of setting a story in some world of extreme temperatures, a world where humans, or the remnant of the human race, were in engaged in a real struggle for survival against impending extinction: I read Steven Mithen’s “After the Ice” which dealt with human development from 20,000 to 5.000 BC; I was asked to write a children’s version of the Inuit myth of Sedna, the sea-goddess; and I heard a radio programme (an episode of Melvyn Bragg’s “In Our Time” on Radio 4) in which one the subjects of discussion was the eventual fate of the earth, an animal and human life. So the idea of creating a future world of ice and snow in which evolution was going into reverse, so to speak, began to take hold and form itself into a story.
At about the same time, I attended a poetry workshop in which we were given photographs to use as a starting point for writing poem. Mine was of the arctic and the resulting poem in a way became the catalyst for starting the novel, and gave me its theme. If you wish, you can read that poem here. She is trying to get back
But it was on the train to Oxford in November 2009 when I was reading Ted Hughes’ story collection “Difficulties of a Bridgeroom” that the opening scene of the story first came to me, and I noted it down, and wrote it up later in my hotel room. Some months later I went back to it and began to write the book.