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Louise Finch has worked for over a decade in the non-profit sector on issues that include women’s rights and health. She grew up in a small town in England's Midlands and graduated from Lancaster University with a degree in art history before moving to the South East. She now lives with her partner and two dogs on the Hampshire/Surrey border.
Louise's debut novel for young adults, The Eternal Return of Clara Hart, has just been published by Little Island. This book explores sexual violence, victim blaming and toxic masculinity with compelling, memorable characters and an intriguing time-loop structure and is one of the most powerful books I've ever read. It was amazing to have the opportunity to ask Louise some questions about her work and you can read our chat below...
What inspired this book and what do you hope readers will take from it?
This novel draws a lot from my real-life experiences and it was inspired by events in my personal life, but I have also been passionate about tackling gendered violence and sexism for a long time. That meant I had an awful lot of background reading and thinking to draw on and inform the book on top of the research I did while I was writing.
Although it’s from a boy’s perspective, the original spark for this idea and using the time loop was to create a narrative that explores the myth that victims are in any way at fault. This book started as an attempt to prove once and for all that they absolutely aren’t, no matter what they wear or drink or do. From there it expanded to take on other damaging misconceptions around this subject, as well as looking at toxic masculinity and grief.
The one thing I would love people to take away from it is an understanding of the power of speaking out against harmful attitudes. But, that said, I hope the novel doesn’t feel like it’s trying too hard to make any one particular point, as it’s obviously written first and foremost with the intention of being engaging and readable as well as thought-provoking.
I’ve been really moved by people’s reviews so far and the different aspects people have picked up on. I’m particularly touched when people say the characters felt very real because they have always been to me.
How did you decide to tell this story using a time-loop structure? Was it always going to be one or did this aspect emerge as you began writing?
Weirdly the time-loop structure came before the themes of the novel, sticking after a failed attempt at another time-loop story. I feel lucky that it all came together in that way because I immediately saw the potential of the repeating day. What it means is that I had a chance as a writer to tell a story where the protagonist gets things completely wrong before stepping up and trying to do better. The fact that the day resets allows him to go on a journey of growth and understanding without other characters having to pay for his mistakes in any lasting way.
However, I wanted to ensure that the reader doesn’t forget about those failed attempts and what could have been. I hope it’s not a spoiler to say that, in the end, the protagonist isn’t off the hook either.
One of the best things about this book is how it’s so full of unexpected twists; did some of them surprise even you?
I’m not someone who plots in advance, so most of the middle of the book developed organically in the writing process. Fortunately, I had an idea of the ending relatively early on in the process, or at least a couple of ideas of where it could end, so I could write towards that, but there were still surprising turns. The way Spence and Clara’s relationship developed isn’t a twist, but I didn’t aim for them to become so close over time. When I started writing I would have said that a little bit of romance wouldn’t be in keeping with the mood of the novel, but that’s what crept in organically and I really love it. Not only is it important for Spence’s character arc, I think it’s vital for the reader to get a chance to see Clara that way too.
I love that the main character in what is very much a feminist story is male – was it always going to be told from Spence’s perspective?
While I was drafting I played around with some chapters from other character viewpoints, but Spence was always going to be the main character. As soon as I hit on the concept and imagined how the story would unfold, I knew it had to be from the point of view of someone who wasn’t directly involved. It means that the character and the reader have distance from the quite difficult events that repeat again and again, as well as giving a chance to examine the role of bystanders. I also particularly wanted it to be a boy, because I didn’t want to tell my own story, or anything close to it, and I didn’t want to tell a story about girls fighting back against misogyny – there are already brilliant YA books doing that. Instead, I wanted to focus on the male perspective, not only to highlight the role of boys in tackling sexism, but also the detrimental impact of gender norms on boys themselves. As you say though, it is ultimately a feminist book written by a woman, so I hope people of any gender will take something from it.
It’s brilliant how this story demonstrates that a sexist joke is never ‘just’ a joke. Is this something you feel strongly about and/or set out to do from the start?
Yes, definitely! It’s been on my mind for a long time. Something that sticks in my mind is an incident in 2015 when a comedian hit the headlines for making a joke threatening to rape a woman in his audience. I was working in a women’s rights organisation at the time and the comedian’s face was on this huge billboard outside the tube station on my way to work, so it was very hard to ignore. But mostly I vividly remember arguing about it with men. Most of them thought it was harmless, or they at least saw it as an isolated off-colour joke that wasn’t worth being offended about. They simply refused to see it as part of a wider problem where violence against women is so completely normalised in our society and the effect that has on women on a daily basis. I couldn’t stop wondering, what if that comedian had really hurt someone? His audience wouldn’t know. The men defending his ‘joke’ wouldn’t know. How could they? Jokes and other throwaway comments could belie more sinister attitudes or perhaps embolden people who are harbouring harmful views. Even if it doesn’t go as far as actually hurting someone, perhaps the same inappropriate humour in a different context could make a woman feel threatened – I’ve certainly experienced that. If people just laugh along, those attitudes are never challenged.
Communication is essential for solving many of the problems in the book but it can be so hard to be open, even with ourselves. Do you hope this book will encourage readers to talk about their feelings and experiences and to ask more questions too?
I hope so. One of the questions the book poses is what real connection looks like. I think allowing ourselves to be vulnerable and honest with other people is a vital part of it and it’s impossible to be open with other people unless we are first honest with ourselves. That includes being able to acknowledge when we have made mistakes and being accountable and trying to do better. In the book, Spence starts out with a lot of preconceived ideas about the other characters and it’s only when he opens up to people and they reciprocate that he starts seeing them as whole, complex people. And when he does that he starts questioning everything a little bit more and that’s when the day begins to come into focus.
What advice would you give to someone who sees themselves or their friends in Anthony?
I’m not sure I know the answer, but I think there’s a lot to be said for engaging people in conversation, trying to encourage them to see a different perspective and giving people a chance to do better.
I was so shocked to learn this was your debut! Are you working on anything else at the moment and if so, can you tell us anything about it?
Thank you! That’s very kind. It took me an awfully long time and I learned a lot while I was writing, particularly from other experienced writers around me who were so generous with their time and their honest, constructive feedback. Unfortunately, I didn’t learn to write any faster, so I’ve been working on my next novel for quite a while. It’s another contemporary YA using a speculative twist to explore themes that are close to my heart, but very different to The Eternal Return of Clara Hart.
The cover design is so eye-catching! How did it feel to see it for the first time?
Isn’t it? I think it gives a really good hint of what’s inside. It’s very punchy!
Can you share any of your own favourite time loop/time travel movies or books?
A book I loved Kate Atkinson’s Life After Life, which explores the various alternative lives of Ursula Todd. There are happier and distinctly unhappy paths, short and long, and it really highlights the infinite possibilities our lives hold. I think all time travel stories play with that theme and the question of how much influence we have over our own lives. I love that about them.
Thanks so much to Louise for chatting to me about her spectacular book, the inspiration behind the story and how it all came together too.
I was curious about who made the joke that Louise mentioned and was dismayed but not particularly surprised when a quick Google revealed multiple comedians who have 'joked' about this subject. On a less depressing note, I love that Louise has referenced Kate Atkinson's Life After Life as this is a book that really struck a chord with me too – especially as I was reading it while expecting my first child so the infinite possibilities and the knock-on effect of seemingly small events had an enormous emotional impact on me at the time. I think that's one of the things I found so compelling about The Eternal Return of Clara Hart too and how it demonstrates that even the tiniest things can have enormous repercussions.
Do take a look at our (spoiler-free) review and get hold of the book as soon as you can; it's certain to be one of the most unique and striking stories you read in any timeline!
The Eternal Return of Clara Hart was published by Little Island on 4th August – see this book on the publisher's website
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