Reading Daughter of Nomads feels like being inside a rich nomad tent surrounded by colours, textures and the scent of spices.
Could you tell us about the setting?
The setting is based on where we lived when we were aid workers in Pakistan in the 1980s and early 1990s. We lived in Abbottabad which I’ve used as inspiration for Sherwan (in 1662) where Jahani was brought up. The beautiful alpine lakes with paries (fairies), rushing rivers, dangerous bridges and fairy fields are all places we took our children to visit. Even the air view from Azhar’s carpet of the Karakorams and Himalayas came from personal experience when we had to take a rather old and small plane from Chitral to Peshawar to escape the blocked snow passes.
What exotic elements, talismans or motifs have you included in the series?
I have an ancient taveez which I bought in Peshawar and it became the inspiration for Jahani’s taveez. I also have a nomad dress and a pouch (similar to the one that Jahani’s nomad mother gives her). The idea of pari power in the story comes from the folklore of Hunza (Hahayul in The Tales of Jahani). I haven’t been to Hunza but my husband has and I have some lovely photos of the area that a friend, Catherine Wood, took for me.
Where did the stories woven into the main narrative that seem to be like Tales from the Arabian Nights come from – traditional or your creation?
Most of these come from the Shahnameh: the Persian Book of Kings. The evil King Zahhak appears quite early in the Shahnameh as does that of Feraydun who slays him. The famous heroes Rostam, Sohrab and Gordafarid come later on. Even Kaveh one of the horses’ names comes from this mythology. The stories about the beginnings of the kingdoms I gleaned from Pakistani travel books. These are stories that people there know and these naturally fed into the fantasy aspect of the books.
How does the character of Jahani change?
Jahani wakes up one morning believing she is a poor girl who may not amount to much, maybe never be able to be married, and then finds she is someone else entirely. Due to a tragic event she suddenly has no idea who she is. Throughout the story she learns to trust and grows into a young woman who is able to take charge of her own destiny.
How have you subverted the traditional role of women?
In the Mughal Empire women did not rule on their own. If they were called Empress it was because their husband was an emperor. Yet the intrigue and deals that went on in the royal harems are fascinating to read about. One emperor was drugged half the time and his favourite wife made most of the decisions. He just had to sign the papers.
The women I met in Pakistan weren’t downtrodden as they are often depicted in the west. Once a girl gets educated she can do anything, wearing a scarf or not. I guess that’s why the Taliban shot Malala. She knew the truth: educate a girl and you change the world. Jahani wanted to change the world even before she knew who she was. She had to fight for the privilege to do so. I hope she will be a role model to show the unlimited potential all women have.
Are these stories for entertainment or to express issues? Or both?
After writing some stories with heavy topics like forced marriage, trafficking, war orphans and blasphemy, I wanted to write something lighter, fun, adventurous and epic. A story to show the beauty and the best of Pakistan. To celebrate the life we had there with our children. It was my eldest daughter who encouraged me to write about Jahani as this was a story she remembered from her childhood. When I look back on the story and also read some of the reviews I can see there is more to her character. It’s true I did want to portray a strong female character which I hope I have done with Jahani.
Daughter of Nomads segues into The Leopard Princess by Jahani having her recurring dream of fire; it is a pivotal scene for the second book as she finally learns what the dream means. When Jahani wakes from the dream only a few days have passed since the end of book one and then the action carries on with the nomads being attacked. Readers can read the first chapter of The Leopard Princess at the end of Daughter of Nomads.
How involved were you in the conception of the illustrations by D.M. Cornish? What is most appealing about them to you?
Aren’t they gorgeous? He is so talented. I loved the way they echo the gold and minarets of the Mughal Empire. I was asked for some ideas of what could go into the cover and the internal pictures but I wanted him to use his own ideas as I thought the best work would come out that way and so it did. I did want one of the illustrations in each book to include the leopard and one to include the carpet in the first book. Other than that D.M. worked his own magic.
Describe your dream magic carpet.
One that grows in feelings as Azhar’s does. Rich colours: red and green, maybe some animals as found on Persian carpets. One that can save your life if you fall off!
Anything else you’d like to add?
I’d like to mention the great job my son Michael Hawke did of Jahani’s poems. He’d read the manuscript and I told him Jahani liked Rumi’s poems but other than that inspiration, the work was all his own. Even at the end, close to typesetting, when my editor Kristy Bushnell and I realised we needed a song for the people to sing, Michael delivered. He is amazing.
Thank you very much for your generous responses, Rosanne and all the best with this series.