Sunjeev Sahota, 43, was born and raised in Derbyshire. Named one of Granta’s best young British novelists in 2013, he made the Booker shortlist two years later with his second novel, The Year of the Runaways, an “epic of immigration... that brings to mind the great realist chroniclers” (the New Yorker). In 2021 he was longlisted for the same prize with his third novel, China Room, drawn on family history and set partly in 1920s Punjab. His new book, The Spoiled Heart, turns on a vicious leadership contest between two British Indian trade unionists divided by age, sex and class. Sahota, who teaches literature at Durham University, was speaking from his home in Sheffield.
Where did this book begin?
This is my first time writing a novel set entirely in the UK – for once the story doesn’t go back to India at all. It’s also my first novel properly set in my home town of Chesterfield, which my parents left between my writing China Room and The Spoiled Heart. I’ve now got no reason to go back, which freed me to write about it. I’d been thinking about my childhood in this deindustrialised former mining town and the childhood my kids are having in the middle-class suburb I’m in now. It made me want to explore how the left does or doesn’t talk about class. I’m on the left – I’ve been in a union for years and I’ve always been in labour movements – but I’m critical of identity politics and believe much more in solidarity and economic justice.
Did that make it tricky to write both sides of the quarrel at the book’s core?
While I do think people like Nayan who believe in class-first politics – arguments very much in line with mine – are being set aside in favour of identitarians like Megha, I had to leave my prejudices at the door: you have to try open-heartedly to give life to your characters in the most enthralling way possible. Megha is the first significant non-working-class character I’ve written and probably the hardest character I’ve ever had to write. But the novel came quickly. China Room took three or four years because I was riven with doubt about the narrator’s right to tell his ancestor’s story; with this, I wrote with an urge to put down on the page things I feel strongly about.
