A Letter From Timothy Findley

Paula: The novel is set in Stratford - what do you want those of us who are outsiders to this particular community, to learn about life in a place where the theatre is so central?

Timothy Findley: What I wanted to show about life in Stratford was the high intensity of any work in the theatre - for actors, directors, designers, property makers, etc. From February to November, the theatre aspect of life in this town is a virtual frenzy of activity. I also wanted to show the animosity and distrust felt by some of the town's non-theatrical residents toward the Festival and all who work in it. It is something I have encountered personally, and something I very much regret - not just because the Festival has brought so much to the town's cultural and economic life, but also because I am sad about any division or ghettoization in my community.

Paula: How do the then-current events that are discussed throughout Spadework, such as the Bill-Monica thing and the war in Kosovo, tie in with the main theme of the novel?

Timothy Findley: I deliberately set the novel in the time period in which its "trigger" existed, because I wanted the story to unfold in the context of Bill/Monica and Kosovo - and in that atmosphere of tension, lies, subterfuge, intrigue and violence. Readers may notice that I even included a Linda Tripp figure in the Festival property department.

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Next Week: More with Timothy Findley!

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