"Fiction came quite a while later. I began with short stories and fiction for children"
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There is a quiet revision of the origin myth baked into Dunmore's line: the poet who didn’t “arrive” fully formed as a novelist, but moved sideways into fiction through the supposedly smaller doors of short stories and children’s writing. The phrasing is modest, almost offhand, yet it resists the cultural hierarchy that treats the novel as a final promotion and children’s literature as a charming detour. “Quite a while later” isn’t apology; it’s a timeline that restores craft to the center of artistic development.
The subtext is about apprenticeship and permission. Short stories demand compression, nerve, and the ability to imply an entire world in a few strokes - skills that rhyme naturally with poetry. Children’s fiction, meanwhile, forces clarity without condescension. It asks a writer to respect the reader’s intelligence while keeping the prose lean, the emotional stakes immediate. In two clauses, Dunmore is sketching a discipline: learn to make every sentence earn its place before you attempt the long haul.
Context matters because Dunmore straddled genres in a literary culture that still polices them. Late 20th-century Britain often celebrated the poet as “serious,” yet treated genre-crossing as suspicious unless it moved toward the prestige novel. Dunmore flips that expectation. She frames fiction not as a betrayal of poetry but as a later instrument, picked up after she’d already trained her ear. The intent feels both personal and political: a reminder that literary value is built in the margins, and that the so-called minor forms are where many writers actually learn how to see.
The subtext is about apprenticeship and permission. Short stories demand compression, nerve, and the ability to imply an entire world in a few strokes - skills that rhyme naturally with poetry. Children’s fiction, meanwhile, forces clarity without condescension. It asks a writer to respect the reader’s intelligence while keeping the prose lean, the emotional stakes immediate. In two clauses, Dunmore is sketching a discipline: learn to make every sentence earn its place before you attempt the long haul.
Context matters because Dunmore straddled genres in a literary culture that still polices them. Late 20th-century Britain often celebrated the poet as “serious,” yet treated genre-crossing as suspicious unless it moved toward the prestige novel. Dunmore flips that expectation. She frames fiction not as a betrayal of poetry but as a later instrument, picked up after she’d already trained her ear. The intent feels both personal and political: a reminder that literary value is built in the margins, and that the so-called minor forms are where many writers actually learn how to see.
Quote Details
| Topic | Writing |
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