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Helen Dunmore

I was born in December 1952, in Yorkshire, the second of four children. My father was the eldest of twelve, and this extended family has no doubt had a strong influence on my life, as have my own children. In a large family you hear a great many stories. You also come to understand very early that stories hold quite different meanings for different listeners, and can be recast from many viewpoints.

Poetry was very important to me from childhood. I began by listening to and learning by heart all kinds of rhymes and hymns and ballads, and then went on to make up my own poems, using the forms I’d heard. Writing these down came a little later.

I studied English at the University of York, and after graduation taught English as a foreign language in Finland.

At around this time I began to write the poems which formed my first poetry collection, The Apple Fall, and to publish these in magazines. I also completed two novels; fortunately neither survives, and it was more than ten years before I wrote another novel.

During this time I published several collections of poems, and wrote some of the short stories which were later collected in Love of Fat Men. I began to travel a great deal within the UK and around the world, for poetry tours and writing residences. This experience of working in many different countries and cultures has been very important to my work. I reviewed poetry for Stand and Poetry Review and later for The Observer, and subsequently reviewed fiction for The Observer, The Times and The Guardian. My critical work includes introductions to the poems of Emily Brontë, the short stories of D H Lawrence and F Scott Fitzgerald, a study of Virginia Woolf’s relationships with women and Introductions to the Folio Society's edition of Anna Karenina and to the new Penguin Classics edition of Tolstoy's My Confession.

During the 1980s and early 1990s I taught poetry and creative writing, tutored residential writing courses for the Arvon Foundation and took part in the Poetry Society's Writer in Schools scheme, as well as giving readings and workshops in schools, hospitals, prisons and every other kind of place where a poem could conceivably be welcome. I also taught at the University of Glamorgan, the University of Bristol's Continuing Education Department and for the Open College of the Arts.

In the late 1980s I began to publish short stories, and these were the beginning of a breakthrough into fiction. What I had learned of prose technique through the short story gave me the impetus to start writing novels. My first novel for children was Going to Egypt, published in 1992, and my first novel for adults was Zennor in Darkness, published in 1993, which won the McKitterick Prize. This was also my first researched novel, set in the First World War and dealing with the period when D H Lawrence and his wife Frieda lived in Zennor in Cornwall, and came under suspicion as German spies.

My third novel, A Spell of Winter, won the inaugural Orange Prize for Fiction in 1996, and since then I have published a number of novels, short story collections and books for children. Full details of all these books are available on this website. The last of The Ingo Quartet, The Crossing of Ingo, was published in paperback in Spring 2009.

My seventh novel, The Siege (2001) was shortlisted both for the Whitbread Novel Award and the Orange Prize for Fiction. This was another researched novel, which grew from a lifelong love of Russian history, culture and literature. It is is set in Leningrad during the first year of the siege of the city by German forces, which lasted for 880 days from the fall of Mga on 30th August 1941. The Siege has been translated into Russian by Tatyana Averchina, and extracts have been broadcast on radio in St Petersburg. House of Orphans was published in 2006, and in 2008 Counting the Stars. Its central characters are the Roman poet Catullus, who lived during the last years of the Republic,


“They will heal anyway, with time. We...are strong. It takes more...to conquer us.Scars don't matter, little one. They are the marks of the battles we have won.”
Helen Dunmore
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“Fear of this order is not an emotion. It is like a virus overwhelming every cell of his body, while his mind struggles to remain clear.”
Helen Dunmore
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“You're trapped both ways. You do as you are told and you do things that you think will make you big, but all the time you're shrinking.”
Helen Dunmore
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“They had something, that generation, he thought. They didn't doubt themselves. They knew what life was, and where they belonged in it. Not like us.”
Helen Dunmore
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“He said a fortuneteller had told Mum's fortune once, and after that, she's never gone out on sea again. It was years ago, but she never has. Not once." said Conner"What did the fortuneteller say?" I asked"Dad wouldn't tell me. It must have been something really bad though.""maybe the fortuneteller said that Mum would die by drowning." I suggested."Don't be stupid Saph. A fortuneteller wouldn't ever say that to someone. You’re going to drown, that’ll be ten pounds please”
Helen Dunmore
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“We are creatures of story.”
Helen Dunmore
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“The human longing for story is so powerful, so primitive, that it seems like something not learned, but locked into our genes.”
Helen Dunmore
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“In a world without air all you breathe is adventure!”
Helen Dunmore
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“I wish I was away in IngoFar across the briny seaSailing over deepest watersWhere neither care nor worry trouble me.”
Helen Dunmore
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“The word 'personal' is one of my aversions. Personal loan. Personal hygiene. Personal safety. It's only a way of wrapping up bad news that you're in debt, or dirty, or likely to be mugged.”
Helen Dunmore
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“For you where never my blood sister so no more shall I call you little sister”
Helen Dunmore
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