{"id":24220,"date":"2025-07-03T13:10:00","date_gmt":"2025-07-03T11:10:00","guid":{"rendered":"https:\/\/stadtsprachen.de\/de\/?p=24220"},"modified":"2025-07-03T13:14:28","modified_gmt":"2025-07-03T11:14:28","slug":"interview-mikaella-clements","status":"publish","type":"post","link":"https:\/\/stadtsprachen.de\/en\/interview-mikaella-clements\/","title":{"rendered":"“I hope it can still do something meaningful”\u2014Interview with Mikaella Clements"},"content":{"rendered":"\n

As a follow-up to the PARATAXE Symposium XVI = Antipodes: Down under in Berlin \u2013 the Australian & New Zealand authors of Berlin<\/a>, we conducted an interview with Mikaella Clements<\/a>, a participant of the second panel HOME & AWAY. Berlin Writing between Austalgia and Expatriotism. In the light of the rise of conservatism all over the world, we talked about how queerness and queer identities show up in her work, notably in her second novel <\/em>Feast While You Can and in how far queer media can counteract hostile political narratives. The interview was conducted by Fedora Scheffen.<\/em><\/p>\n\n\n\n

What is the most important aspect when creating a queer character: is it the queerness, the character as a whole, or something else entirely?<\/h2>\n\n\n\n

That\u2019s a great question. For me, they really come very tied together, probably because I\u2019m queer myself. It\u2019s hard for me to separate which parts of my personality or style are influenced by queerness and which would have been the same if I were straight. So, when I write queer characters, their queerness is inherently part of who they are. In Feast While You Can<\/em>, it was fun to write two queer characters who, on paper, are quite similar: both lesbians, both mixed race, both from small towns. But I wanted to show how they\u2019re still very different people. Queerness doesn\u2019t create a single experience. It opens up many different ones. Even in my first book, The View was Exhausting<\/em>, which features a heterosexual couple, queer readers told me they could still feel that it was written by a queer person. There\u2019s a queer aesthetic in the way it’s constructed. I think that\u2019s inevitable.<\/p>\n\n\n\n

Where do you find inspiration for your queer characters? Does it come from certain pieces of media or from real people in your life?<\/h2>\n\n\n\n

All of the above. I think a lot of writers are magpies; we see something shiny and follow it. One early bit of inspiration for Feast While You Can<\/em> came from the movie 10 Things I Hate About You<\/em>. There\u2019s a scene where Heath Ledger and the younger sister exchange this very loaded look, even though they haven\u2019t interacted much. My wife and I watched that and thought: \u201cWhat if they were lesbians?\u201d That kind of subtle, emotionally charged moment really sparked something. I also grew up in a time with very little queer representation. So many of the love stories I grew up loving were heterosexual, but there were dynamics in them that I interpreted queerer than they were probably intended to be. That informed me a lot. Sometimes characters are inspired by people I\u2019ve met. There\u2019s one in our new book who was very loosely based on someone we knew a decade ago. Even just seeing someone at a party in a great outfit can inspire a character detail. Berlin, especially, is full of queer people. There\u2019s inspiration everywhere.<\/p>\n\n\n\n

And you\u2019ve lived in a few different cities. How have those places shaped your experience with queer communities?<\/h2>\n\n\n\n

I grew up in several places, but I spent my late teens and university years in Melbourne, which is very queer and specifically very dikey. It had this great energy of queer women moving through the world together. Then I lived in Bristol for a few years with my then-girlfriend, now wife. Bristol is lovely and very arty, but the gay scene there was small and very male. When we moved to Berlin, it felt like arriving. Suddenly there were queer women everywhere again. Even though the culture and language were different, it felt like home in that specific way of being surrounded by your people again.<\/p>\n\n\n\n

You co-wrote Feast While You Can<\/em> with your wife, Onjuli Datta. How does your collaborative writing process work?<\/h2>\n\n\n\n

We\u2019re slow writers. We spend a lot of time talking before we write anything, about the characters, plot, aesthetic. We get obsessed together, like we have a secret fandom that only we understand. It\u2019s like having a dramatic friend group we can\u2019t stop gossiping about. When it comes to the actual writing, we alternate scenes, roughly in chronological order. We don\u2019t try to surprise each other. We\u2019re writing in tandem. Then we do an enormous amount of editing. She rewrites my parts, I rewrite hers. By the end, the voices are so blended that even we often can\u2019t tell who wrote what. Sometimes my sisters will guess, and usually their favorite lines are hers, which I find slightly offensive. But we\u2019ve been writing together for over a decade, and our voices are deeply intertwined now. It\u2019s our version of what some couples do when they renovate houses or raise children. We write books.<\/p>\n\n\n\n

Something I\u2019ve noticed is that queer characters are often reduced to a single trope. How do you feel about this repetition of homophobia or coming-out as a dominant narrative in queer media?<\/h2>\n\n\n\n

It gets dull, especially when it\u2019s repeated by people who aren\u2019t inside the experience. Blatant homophobia is easy to write and easy to recognize. But I\u2019m more interested in the subtler, more insidious ways it shows up. For example, when my wife and I are with an older relative and they refer to us as \u201cthe girls.\u201d You know they wouldn\u2019t say that if we were a married straight couple. It\u2019s this strange kind of infantilization. There are tropes in queer writing: homophobia, the coming-out story. I understand why they\u2019re common. But I also believe that in the hands of a great writer, anything can feel new again. There are only so many stories, and we\u2019ve been telling them for thousands of years. I\u2019m not bored yet. When we were writing Feast While You Can<\/em>, the characters are in their mid-twenties, already out, very comfortable with their identities. I thought, this isn\u2019t a coming-out book. I didn\u2019t think I had anything left to say about coming out, I\u2019d done it 16 years ago. But then I started writing a flashback chapter, and suddenly I had thousands of words pouring out. I was surprised by how much I still cared about that experience. So yes, I do think there\u2019s still space for those stories. But they have to be told in ways that feel alive, not formulaic. Coming out isn\u2019t one big moment with a happy ending. I still come out multiple times a week, depending on where I am and what I look like. Sometimes I don\u2019t even have control over whether I\u2019m coming out. That complexity is something I want to explore.<\/p>\n\n\n\n

Something I\u2019ve been thinking about a lot is the way age-gap relationships are sometimes romanticized in queer media, like in Call Me by Your Name <\/em>or Carol<\/em>. How do you feel about those kinds of dynamics being portrayed in literature and film?<\/h2>\n\n\n\n

That\u2019s been a big conversation in queer spaces lately. My feeling is: I don\u2019t read fiction as a guide to living an ethical life. A book is telling a story. It\u2019s not giving you instructions. You can absolutely critique those stories, but I\u2019m wary of jumping to \u201cbecause this relationship is problematic, the author must be advocating for it.\u201d Sometimes people will quote something a character said to me and I have to say, \u201cThat was the villain.\u201d Just because a character says something doesn’t mean I endorse it. I like messy characters. I like characters who make bad decisions or act immorally. That doesn\u2019t mean I want to live like them. It just means I enjoy exploring those dynamics. Sometimes that tension is what makes fiction interesting. A toxic relationship or power imbalance might be uncomfortable to read, but that doesn\u2019t make it worthless. In fact, many of the books I love have left me unsettled or even regretful, like, \u201cI wish I hadn\u2019t read that.\u201d But I think about them frequently. They linger. And that\u2019s meaningful, too.<\/p>\n\n\n\n

With everything happening around the world in recent times: book bans, anti-queer rhetoric, etc. What do you think queer literature and media can do for people growing up in this climate?<\/h2>\n\n\n\n

I hope it can still do something meaningful. But honestly, I\u2019m not always optimistic about literature changing the world. There\u2019s this fantasy that books can fix everything, and sometimes I wonder if my energy would be better spent protesting in the streets instead of writing. Governments are making access harder. In the US this month, Trump said the government won\u2019t be recognizing Pride anymore. Books are being banned again. And that scares me. I grew up in the \u201890s and early 2000s, when queer literature was hard to find. I remember once I was secretly reading a gay book during math class, and a girl I didn\u2019t know aw me. She walked over and asked if I liked \u201cbooks like that.\u201d I said yes. She wrote down a list for me, on graph paper from our math notebooks, of about ten queer books to track down. This was before the internet was what it is now. Before Goodreads or queer bookstagram. That list was everything. So I guess my hope is that even if things get worse, there will still be someone passing around a sheet of paper. And if I can write a book that ends up on that list, that\u2019s still a tiny act of resistance. Even if the bigger structures are against us.
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As a follow-up to the PARATAXE Symposium XVI = Antipodes: Down under in Berlin \u2013 the Australian & New Zealand authors of Berlin, we conducted an interview with Mikaella Clements, a participant of the second panel HOME & AWAY. Berlin Writing between Austalgia and Expatriotism. 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