In the wake of Finding the Holy Path, published in 2014, and Cold Shadows in 2016, Naked Nimbus is Shahsanem Murray’s long-awaited third novel. Once again, Murray’s multifaceted plot is woven with intrigue and mysticism, referencing the stark cultural contrasts between life in Central Asia under the Soviet regime and that in the West.

The story focuses on Arthur, a young, ambitious artist struggling to find his way in the world and recognition for his craft. Haunted by his role in a fatal accident, he searches for atonement whilst battling to maintain his moral, personal, and professional integrity.

Faced by numerous challenges, Arthur experiences a storm of emotions from despair to euphoria, and, highly sensitive to his surroundings and everyone he meets, the thin line between reality and fantasy blurs as he continues to hold out hope for true love. Friendships are put to a test, and he must muster the strength to forgive both himself and those closest to him for acts of disloyalty.

Arthur’s journey takes him across the globe, from his Soviet homeland to Scotland, France, and finally, the wilds of Siberia. Often feeling dislocated, he finds himself questioning his identity and self-worth both as a man and an artist; a situation compounded by supernatural encounters.

Murray further explores the human condition and the problems faced by society at large by introducing parallel stories of other characters’ lives, including Arthur’s acquaintances and his friend Alik’s father, Turdubek, as he searches for a soulmate under the Soviet regime.

Like the Surrealist paintings which inspired it, this novel is filled with poignant visual imagery and symbolism, which, open to interpretation, lead the reader to ponder the outcome of events.

Editor Laura Hamilton caught up with Shahsanem Murray to discuss the author’s new novel:

LH: What is the meaning or inspiration behind the book’s title?

SM: I wanted the title to be both poetic and to act as a key for the reader’s attention. After writing the first two chapters, I realized that the original title wouldn’t work. Then, one Sunday morning, my business partner Gordon Murray mentioned the word ‘nimbus.’ Unfamiliar with the term, I began searching for images and decided that ‘Naked Nimbus’ would be a perfect description of Arthur’s plight. As a man without wings, he is unable to fly, and so, if he is to soar in his life’s journey, he must explore, harness, and embrace the moral and cultural tenets of the society in which he lives and works.

LH: The video trailer recreates the opening violent murder scene, but unlike typical crime fiction, the book focuses on its prolonged mental impact on the protagonist. Was it your intention that readers view crime from a different perspective?

SM: The video trailer was carefully created as a marketing tool to entice readers. It sets the scene for the impact the accidental murder has on the protagonist’s life. I hope it doesn’t disappoint!

LH:  In common with your previous novels, the new book provides a glimpse of life in Central Asia – especially your native Kyrgyzstan – both before and after the fall of the USSR, and your adopted home in Scotland. Are any of the characters in Naked Nimbus drawn from real people or events?

SM: My characters possess the attributes of people I have encountered and their response to specific events and circumstances, especially during the period under and leading up to the fall of the USSR. Having lived in Kyrgyzstan during that period and afterwards, in Scotland, I was inspired by both my own and my associates’ experiences as we gradually adapted to significant changes in the societies in which we lived.

LH: Mysticism and legends – important in Kyrgyz culture – also feature prominently in your writing. What draws you to incorporate these to enhance your storyline and the mental state of your characters?

SM: Kyrgyz literature is rich in mysticism, and legends based on ancient folklore are integral to our culture. I’m constantly revisiting tales narrated by my grandparents and rediscovering a rich and powerful trove of material that can be incorporated into my work. By comparing the two, and to my surprise, I recognized similarities in how Scottish and Kyrgyz folklore is revered, treasured, and preserved by generations both past and present.

LH: Arthur, the key protagonist in Naked Nimbus, is portrayed as a man battling to come to terms with his involvement in a murder, leading him to question his very being and his place in the world. Crime aside, is this something that was inspired by your own experience of having to adapt to life in a country alien to where you grew up?

SM: Although Naked Nimbus is fictional, Arthur’s involvement in the murder is, sadly, something that occurs daily worldwide. I recall a newspaper article about one young man who, returning from a night out celebrating his birthday, was attacked and robbed by a local gang. Had he chosen to join the gang, he would not have ended up in hospital with serious injuries. And worse, had he fought back, he might well have committed murder. The world is a dangerous place for young men, especially those faced with pressures to join the ‘dark side.’ Through Arthur, I wanted to explore the consequences, both mental and moral, of rejecting crime and violence to follow a good and honest life.

To quote Shakespeare: ‘To be or not to be, that is the question.’

LH: The book contains many parallel stories, and the ending is open to interpretation. What role did your knowledge of Surrealist art play in your often enigmatic plots and use of the imaginary?

SM: Surrealism is my favorite art genre. It has the power to surprise and force the viewer to re-evaluate what the artist is trying to convey whilst conjuring up personal memories. The inclusion of parallel plots in my book is akin to the Surrealist artists’ juxtaposition and layering of motifs; interrelated yet standing alone as vehicles of the characters’ dreams, disappointments, and aspirations.

Discovery of 1,900-year-old headstone dedicated to Roman sailor sets off effort to repatriate item to Italy

A New Orleans couple clearing away undergrowth in their home’s yard unearthed a grave marker, setting off a quest for answers about how the roughly 1,900-year-old relic ended up there – and an effort to repatriate it to Italy.

The remarkable discovery was the work of Tulane University anthropologist Daniella Santoro and her husband, Aaron Lorenz, according to a report published online Monday by the magazine of New Orleans’s Preservation Resource Center (PRC).

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