"COMMUNICATING WHAT I FEEL"

Lala Umid's works represent a unique blend of national culture and contemporary literary trends. Her texts vividly evoke the images of her native Absheron, where nature and human destinies intertwine into a cohesive tapestry of life. Our interviewee, a recognized master of words, skilfully conveys the emotions and feelings of fairy-tale characters, captivating young readers and immersing them in a world of light and kind fantasy. Adult readers, by Lala UMID's own admission, have found themselves "immersed" in her literary world even while travelling on public transport. This is indeed a rare phenomenon in today's fast-paced life.

"Which of your works are you most proud of and why? Aghabala, Intuition, When the Kharybulbul Blooms...?"

"I find it difficult to single out one specific work that I am most proud of. My first book was a collection of short stories titled The Lesson of Love, followed by A Deal with Conscience, Intuition, The Time of Bells, and Aghabala. It is challenging to take pride in any one piece because they are all my creations, born from my pen, and each holds equal significance for me. However, if we discuss pride, I am currently proud of the fact that I began my writing career with short stories, which is quite a challenging genre. Writing short stories is an art form in itself, requiring the ability to encapsulate a beginning, middle, and end concisely and expressively—similar to Chekhov's assertion that "Brevity is the sister of talent." Chekhov, Saltykov-Shchedrin, and Bunin have all served as my mentors in this regard, even though Chekhov advised Bunin to avoid elaborate epithets and encouraged him to be succinct. Returning to your question, perhaps the story Quince Blossom is especially dear to me. It was published in Literary Azerbaijan magazine and gained significant recognition. Thanks to it, I have become well-known. The story resonated with many readers; one woman even requested a translation into Azerbaijani so that more people could enjoy it. My creative work involves an invisible dialogue with my readers, and it brings me great joy when people find it hard to put down my books, as was the case with Quince Blossom. That story marked the beginning of my true writing career, and I cherish it. Although it wasn't my first story, it is included as the first in the collection."

"Does writing bring you any bonuses in your life?"

"Yes, indeed. One of these bonuses is the recognition I receive; people often send me photographs of grown men reading my books on the metro. This is incredibly meaningful to me as I am an emotional and spiritual person who pays attention to the subtle nuances of life. For me, everything is predetermined by the Universe, and each individual has their own mission. It brings me great joy when I observe that my books resonate with readers—when they empathize with my characters, inquire about continuations, and ask why there aren’t more substantial works available for extensive reading. That is perhaps the greatest reward of all. Additionally, I have a dedicated readership among children for whom I created the Yoshkina and Kartoshkina series. Many children have developed a love for reading through these books and are eagerly anticipating the release of the third volume. Together with my son, we wrote the first two books, each containing 39 short fairy tales, and we are now contemplating the publication of the third instalment."

"Do you think a writer should solely represent the code of their people or can they address universal values?"

"I firmly believe that any creative individual—whether a writer or an artist—can and should engage with universal human values. After all, what else is there to write about if not the essence of humanity, encompassing both virtues and flaws? It is vital for a writer to portray both the positive and negative aspects of character; the latter serves as a lesson for humanity. This balance is both normal and essential. However, a talented writer inevitably embodies the code of their people. Who better than someone raised along the shores of the Caspian Sea can articulate how the sea smells, how it transforms across different seasons, how quince leaves fall, how pomegranate blossoms appear, or how Absheron sand looks after rain? These emotions cannot be conveyed without personal experience. Recently, I learned from a prominent art historian that our Azerbaijani artist Ashraf Murad often depicted the sea as black. I had long wondered about this portrayal until I discovered that he enjoyed walking to the sea, and by the time he arrived, it appeared black to him. He captured what he perceived on his canvases. I believe that both writers and artists convey their observations and feelings; an individual who has grown up in a particular land will best express its spirit and atmosphere. It is natural for me to include works dedicated to my people and beloved Absheron within each of my books—be they collections of short stories or novels. My latest book, Aghabala, comprises stories exclusively about Absheron, and I aspire to translate it into English to share our culture and customs with an international audience."

"A writer's routine: what time of day do you write? Are there rituals that help set the mood?"

"Yes, I do have rituals. My primary ritual is that I refrain from using a computer; I write by hand exclusively in lined notebooks. This practice is non-negotiable for me. A writer's daily routine can be somewhat bohemian; I often find myself working late into the night and sleeping in during the morning hours; however, this varies depending on my inspiration."

"Could you please share your most memorable experience regarding criticism of your books? Do you feel offended by criticism or happy when admired?"

"I remember Oscar Wilde's quote: ‘Don't shoot the pianist—he's doing the best he can’. This sentiment perfectly embodies how I view criticism. Whenever a person engages in creative work, they endeavour to do their utmost. Every creative individual experiences highs and lows; writers often proclaim that their best work has yet to come—just as actors believe their finest role lies ahead. To be honest, I struggle with criticism; I prefer receiving praise over criticism. This isn't due to narcissism; rather, it's because I invest myself wholeheartedly into my work. Perhaps it stems from my desire for my creations to instil hope and positivity in my readers. I strive not to burden them; I don't wish for them to feel despondent after reading my work. Instead, I want them to come away feeling that not all hope is lost. That is likely my highest motivation. Among all my works, How I Found My Way to Hell was the most challenging to write due to its foundation in real events related to drug addiction. Yet, regardless of this difficulty, I aim to provide hope and cheerfulness for my readers."

"Are you familiar with the concept of a ‘creative literary crisis’? How do you overcome it?"

"Unfortunately, I am no stranger to creative crises. For the past year, I have not written anything new; although I have several stories in progress and an unfinished novel, this creative drought paired with difficulties related to publishers and tax matters has been demotivating. We currently lack literary agents who could assist writers in collaborating with publishers—a relatively new field for us filled with obstacles. Nevertheless, I remain hopeful about publishing two new books this autumn: a collection of short stories titled Landmark and a novel called Thistle. Many individuals are eagerly anticipating their release; I hope they will be available before the New Year."

"Name your top three strengths/disadvantages."

"Kind, emotional, and sensitive. These traits represent both my main virtues and significant disadvantages."

"You're also a painter. Artists often possess highly developed imaginations, similar to writers. Does visualising your characters assist you in crafting your books?"

"My painting skills are at an ordinary—almost amateur—level compared to my writing endeavours; however, imagination certainly plays an integral role in both fields. In fact, I might argue that writers possess a more vivid imagination than painters because while painters must translate their fantasies onto canvas, writers describe their visions in words so that readers can experience the emotions they wish to convey. Therefore, yes—writers tend to possess a stronger imagination than those in other professions. This ability greatly assists me in connecting with my characters."

"If you are not a writer but rather a reader: do you have favourite authors as well as those whose work you do not enjoy?"

"As a compassionate and loyal person, I cannot label any writer as unloved or unworthy. Each author brings their own unique perspective and worldview through their distinctive lens. For instance, while I've read Kafka's works, they can be quite challenging to grasp; however, my son admires Kafka greatly and finds pleasure in reading his works. As they say: ‘so many people, so many opinions.’ Consequently, I cannot identify an author whom I dislike.

Regarding my favourite authors: they undoubtedly include Chekhov, Bulgakov, Saltykov-Shchedrin, and Bunin. These writers are foundational figures in Russian literature; I learned from them deeply and grew up immersed in their works for which I am profoundly grateful.

"How many unfinished works do you have that you will probably never show anyone?"

"I do not have any unfinished works that will remain incomplete indefinitely. Whenever I begin writing something new, I feel compelled to see it through to completion; I cannot simply leave a text ‘on the table’ only to revisit it after a year for revisions before publication. It is important for me to finalize what I've started so that I can reread it for edits and prepare it adequately for release. There are no works that I would feel ashamed to share with my readers; everything I've initiated will be published and will find its audience."

"Is there a character in your work who keeps you on edge—perhaps one you may even dislike—but feels indispensable? Tell us about your most compelling antagonist."

"There isn't a conventional antagonist present in my work. My primary character is Aghabala—a simple individual from Absheron who embodies sincerity along with his own dreams and aspirations. I strive to avoid sharp edges within my narratives—betrayal and treachery exist but are depicted on an everyday level which I consistently condemn. While an antagonist may not yet be present within my tales, perhaps one will emerge in future writings."

"If it's not too personal, could you share an idea for a book you're currently working on or considering writing?"

"Thistle is a novel centred around a woman’s perspective on life—her feelings and experiences through various trials. The book's concept arose recently as I've developed an increasing fascination with painting due to my son's influence. I've begun exploring our artists' works much more deeply than before; I'm particularly drawn to the Absheron school of artists—though referring to it as "school" is somewhat conditional here. I would love to write about our masters such as Ashraf Murad, Tofig Javadov, Rasim Babayev, Kamal Ahmad, and Zakir Huseynov. These artists hold immense significance for me; I admire their contributions yet believe there has been insufficient documentation about them thus far. The world deserves to learn about the treasures that lived and thrived in Absheron. While I'd be thrilled to dedicate my book to these artists, I'm aware that we have art historians—individuals who know them far better than anyone else—who could undertake this task more appropriately. My son diligently collects information about these artists; he meets their descendants visits studios gathering invaluable details memories impressions gradually piece by piece; he holds aspirations to compile everything into a book which I'll support him with however possible."