Jocelyn Cullity has published short fiction, creative nonfiction, documentary film and scholarship; she’s currently completing her first novel, set in 1857 India. Cullity teaches creative writing at Trinity College in Hartford, Connecticut, and also in the low-residency BFA program at Goddard College in Vermont.
Superstition Review: Your piece “Mutiny” takes place in India, and you’ve also co-written an analytical essay on female representation in Indian popular culture, specifically as perpetuated in media such as MTV India. What about India would you say inspires your writing?
Jocelyn Cullity: My British family on my mother’s side lived in India for five generations. The stories told to me by my mother and my great-aunts were more about India than anywhere else.
One of the most violent events in Indian history began in 1857 when Indian citizens revolted against the variety of injustices occurring during British rule. My ancestor, Ellen Huxham, was one of the women held hostage during a five-month siege in Lucknow during the “mutiny,” and she kept a diary during that time. When I was about 12, I transcribed her diary, and this event in particular stayed with me.
SR: Have you travelled to India and if so, were you inspired to write about it afterwards, or did you travel there because it inspired you?
JC: I have had the opportunity to visit India several times. I love India and I have gone when I can. I’ve gone to write, for research, but also just to visit family and friends. It was sometime after my last trip that I wrote the short story “Mutiny” as a part of my dissertation collection at Florida State University, and after that I began working on the novel.
SR: “Mutiny” begins, “India. May 24th, 1857.” What do you think it does for a story to have a concrete setting?
JC: Janet Burroway (the writer, teacher, and one of my mentors) has written that setting means more to writers than anything else. I do think that setting is everything, and that to establish an immediate concrete image of location in the reader’s mind is useful and most often necessary. When one is writing about a different country and a different century it’s crucial to establish time and place in the reader’s mind as soon as one can.
SR: There is an element of the supernatural in “Mutiny” that contrasts with the almost sparse narration. How did you envision your narrator when you began writing “Mutiny” and was this contrast your intention from the beginning, or did it develop after the fact?
JC: I don’t think I thought about this sort of contrast. The dead husband suddenly appeared in the doorway, and I wrote him down. To his wife, he is as real as the siege around her. However, I’m fascinated by the existence of supernatural elements in the short story, over the form’s history, so, as I think about it now, it doesn’t surprise me that the ghost character showed up.
SR: “Mutiny” is an excerpt from your forthcoming novel of the same name. How does it feel to see your work and your efforts coming together into a tangible form?
JC: I started the story “Mutiny” very tentatively. I had the feeling I should explore the character of Eva before embarking on a larger project; she is one of several important characters I’d been thinking of for the novel. Now it feels utterly inevitable to be writing the book. I’m almost finished and it is gratifying to see what I hope is coming together.
I should say that the title that I used for the short story — “Mutiny” – is used with a good dose of irony. The “mutiny of 1857” is still a phrase used by some; some others call it “India’s First War of Independence.” I have used the word “Mutiny” as a working title for the novel but I’m not completely sure yet if that’s what it will be called. I hope to decide that in the next months.
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