So it’s farewell to my faithful black desk, too old and rickety and too darned heavy to be moved again. I bought it from a pre-IKEA furniture store on the outskirts of York in 1989 and since then it has taken up station in at least half a dozen different studies of mine. Flat-pack, self-assembly chipboard, its veneer is peeling and its structural integrity relies largely on screw blocks and willpower.
As for the drawer unit, the drawers have been reluctant for a decade; piled too high with more pens and paper than they can cope with, stained by ink and tippex and blobs of blu-tac. Together with the desk it is bound for Bulk Refuse Heaven.
This was the desk where I wrote Shadow in the Corn, half of Byron’s Shadow (long story!), Shadesmoor, Lady in the Lake, Blood & Sandals,Islands that Never Were and Glint of Light on Broken Glass. Four dormant novels were also tapped out on is face, together with A Gallo-Roman Shipwreck from Guernsey,Roman Pottery From York, A Shypp Cast Away About Alderney and a couple of dozen academic papers and the same number of short stories.
A pine desk that did service as one of my children’s homework desks has been commandeered as the place where the next two books will be completed. Smaller, it should be more maneuverable up the steps of the next garret and maybe the one after that.
Whilst working on a new thriller, and editing the one I ‘finished’ earlier, I have a new project to keep me out of mischief. I’m teaming up with artist Peter Le Vasseur to produce a book on his life and work. In particular the book will feature Peter’s later works with ecological and conservation themes.
Although Peter was born in Guernsey and returned here to live in the 70s, his formative years as an artist saw him enter the ‘sixties London art scene with clients including film stars, musicians and the aristocracy. The Beatles bought one of his earliest works, whilst he was experimenting with fantasy in what he calls his ‘Alice in Wonderland’ period. His early fantasies are still cropping up in London auctions, with his 1964 work Tattooed Sailor recently selling at Sotheby’s for many times its estimate.
Peter finally established his iconic style of highly detailed paintings of the natural world, generally packaged with a ‘message’, although for himself he claims not to be political. At times his work has a dark humour or carries ironic titles as it reflects the impact of the modern human world on both the environment and traditional societies.
This will be a high quality art book with the paintings as its main focus, so is going to need a significant amount of financial support to be produced. It would be particularly relevant to a large international organisation involved in environmental issues, or to a multinational with corporate social responsibility objectives which might like to sponsor a work it can give to its major clients.
I’m interested in ideas from you folks out there. Share with your contacts and see if we can find that sponsor. I can be contacted through this blog page.
For those living in Guernsey, Peter currently has an exhibition of his works at the Coach House Gallery, and his large work The Tree of Life is on permanent display at Guernsey Museum where it was voted ‘The People’s Choice.’
I’m one of those people who gnashes their teeth at historical travesties in movies, or novels for that matter, so I’ve held off seeing The Guernsey Literary & Potato Peel Pie Society until the initial excitement died down. The book raised some heckles in the island as the setting portrayed wasn’t ‘Guernsey’ enough. One handicap was the format of the book as an epistolary novel (told via letters), so struggling to establish a sense of place and missing idioms of local speech patterns as well as the Guernsey French which was still in common use during WW2. Less forgivable was the absence of ‘local’ names, easily researched, and I indeed gained the impression of a Scottish island rather than the one I knew well.
And that is the problem – I’m too close to the subject, as I am if the film features the Roman Empire, the Napoleonic Wars and indeed most other historic epochs I know anything about. I feared something like the Strike! spoof of the Yorkshire miners’ strike, produced by the Comic Strip, in which ‘Al Pacino’ starred as Arthur Scargill, the accents were cheekily American and there was a Hollywood happy ending.
TGL&PPPS looked lovely on film, the acting was spot-on and the script lively (again considering the book has little by way of true dialogue). Period detail in the costumes and the interiors seemed faultless. Empire gave it three stars, which is pretty typical of their reaction to modest period films such as Their Finest, also by Studio Canal.
The reaction of Guernsey friends to the film has been positive, sometimes surprised that justice has been done. It was a shame that no footage was shot in the island, but the film was produced on a very modest budget and the vast majority of people who watch it will never have been here.
Likewise the rest of the world will not know know very much about the German Occupation of 1940-45 as the dozens of books written about it have largely been small-press, self-published or had very limited circulation outside the islands. So the story is ‘new’ to most of the world, and to all intents and purposes Dorset serves well as ‘stunt double’ for the island itself. It was quite fun spotting the parts of Bristol docks where I was just last week doubling for Weymouth harbour. Yes of course the Dorset coast has the wrong geology, the wrong beaches, the wrong kind of cottages and is much more expansive than little Guernsey truly is, but what the Director Mike Newell has created might be termed a ‘Guernsey of the Mind’. There were even a couple of touches of Guernsey French in the background but the local accent was largely forgotten. The poster, incidentally, does feature a shot of Guernsey’s south coast.
I watched The Inn of the Sixth Happiness last week, in which tall blonde Ingrid Bergman with barely disguised Swedish accent played diminutive brunette Londoner Gladys Aylward, and Wales stood in for China. Now I’ve not been to north China so have no idea how much it resembles Wales. Most films take huge liberties with historical truths – Aylward actually founded the ‘Inn of the Eight Happiness’ and claimed never to have been kissed, contra the movie’s love sub-plot.
Most movies are not actually filmed where they are set. Spartacus was filmed in California, and the ‘Spaghetti westerns’ in Italy. The Last Samurai was filmed in New Zealand, Full Metal Jacket‘s Vietnam scenes were shot in London, Saving Private Ryan‘s Normandy is mostly Ireland and Herefordshire and Eastern Europe is now the stand-in of choice for historic England in productions such as The Last Kingdom. Let’s not even talk about The Martian. So in the end, we shouldn’t be too precious. The book has sold 5 million copies, the film touched #2 in the box office charts and Guernsey’s tourism enquiries are spiking. Who’s to complain?
I’m just back from Crimefest, Bristol. It was my third Crimefest and the first time I’ve done the full Thursday to Sunday programme. Okay, maybe not honestly ‘full’ as I did abscond for a few sessions – hunting for gluten free snacks, in the main.
Dozens of writers were speaking, and dozens more were among the 500+ attendees. It was the usual format, mainly panels of 3 or 4 writers plus a moderator, plus a few communal sessions such as the duet of Peter James and Martina Cole brought together by Peter Gutteridge. I avoid playing the fanboy at such events, merely smiling and saying hello when passing Lee Child in the hallway.
Highlights are hard to pick but Kate Rhodes was the stand-out moderator in the session ‘Psychology, Obsession and Paranoia’, deftly pulling together the strands of twisted discussion launched by the (mainly) female panel to the (mainly) female audience. The W for Women panel discussed how well men could ‘write’ women, and women ‘write’ men. The financial crime panel pre-empted my own question on how to deal with financial crimes that are both complex and dull at the same time (skip the detail). Between panels Luke McCallin and I got thoroughly stuck into discussing thrillers set in the world wars, something I’ve toyed with but never delivered.
The social side was never far away. At dinner I was seated with ‘Queen of Gangland Crime’ Kimberley Chambers and some of her Harper Collins team. I also enjoyed a good catch-up with fellow archaeology-mystery writer Kate Ellis. To cap it all was a very silly game of ‘Sorry I haven’t a Cluedo’. Instead of a buzzer, panel members fired cap guns. You had to be there to appreciate it.
So I’m trying something different, a Twitter Campaign. Mostly it is to test the water, see how effective it is. After all if the Russians can change the result of elections by mass tweeting, there must be some power in social media.
Although it was my sixth novel Glint of Light on Broken Glass was self-published, albeit at high spec by Matador and professionally edited. However it had little of the marketing push I’d expect from a mainstream publisher. It was planned as a slow-seller to local audiences and tourists, but there have been e-book and internet sales through Amazon so the interest is worth stoking.
Also of course we have the #GuernseyMovie released this month, and for a few weeks the G-word becomes more searchable. Other local writers, hotels, gin-makers and others are riding the publicity wave, contributing to a symbiotic promotion of their own products as well as the movie.
So I’m posting or re-posting a range of idiosyncratic images with snippets of text including lines from the book. I’ve taken the photographs myself, often at the appropriate location in Guernsey, then applied a little manipulation and cropping. Alongside this is a professional PR campaign running for a month, nudging people towards my partner website guernseynovel.com. Perhaps you’ve seen it? This is a true test-the-water exercise, as tweeting can be like whispering in a crowded room where everyone else is yelling.
Anyhow, Mr Putin, I’m sure you’d love Glint so if you could get your army of fembots to re-tweet this 20,000 times I’d be most happy.
The Guernsey Literary and Potato Peel Pie Society is far and away the most successful novel set in Guernsey. Although there are easily two dozen works of fiction using the German Occupation of the islands as their background, this is the stand-out commercial hit. Curiously it was written by an American who had only made a single unplanned visit to Guernsey.
The book is the only novel by American author Mary Ann Shaffer. She made a brief stop in Guernsey in 1976 and became fog-bound at the airport; a familiar hazard to island residents. Browsing the bookshop, she learned about the German Occupation of 1940 to 1945. It was two decades before she finally began her Guernsey novel, and it was accepted for publication in 2006. Her health deteriorated, so the final editing was carried out by her niece Annie Barrows who was already a published children’s author. Mary Ann Shaffer died in 2008 before the book was published.
It is an ‘epistolary novel’, in that the story is told entirely through letters between the characters. In post-war 1946, English journalist Juliet Ashton strikes up a correspondence with islander Dawsey Adams one and becomes intrigued by the quaintly titled Guernsey Literary and Potato Peel Pie Society. She travels to Guernsey to meet members of the society, and a story of love, tragedy and hope emerges against the background of an island people surviving almost five years of enemy occupation emerges. For the uninitiated, potato peel was used as ersatz pie crust when food began to run short. I have never tried it, but it was apparently rather nasty.
The Guernsey Literary and Potato Peel Pie Society was an immediate hit, especially in the USA. It spent 11 weeks in the New York Times bestseller list and reached the number 1 position on 2nd August 2009.
Reviews were favorable; The Times said “Every now and again, a book comes along that is simple yet effective, readable yet memorable. This is one such delight … It is a uniquely humane vision of inhumanity; one to lift even the most cynical of spirits”
To date it has sold over 5 million copies worldwide in over 30 territories and has proved particularly popular with book clubs. It was planned for me to interview Annie Barrows at the Guernsey Literary Festival, but scheduling clashes mean that it’s not to be.
A film adaption has been on the cards for a few years, with different directors and stars mooted. It finally takes form this spring, directed by Mike Newell, starring Lily James as English author Juliet Ashton and Michiel Huisman as islander Dawsey Adams. The film will be in cinemas from April 20th 2018, with a special Premiere taking place in Guernsey in addition to the World Premiere in London. It remains to be seen whether filmgoers also have the taste for pie.
It was my pleasure to attend the fourth Alderney Literary Festival this weekend, which incoming Chair Anthony Riches declared to be the ‘Friendly Festival’. It is small but perfectly formed, concentrating on historical fiction, non-fiction and biography. The audience is limited to 50 or so for each talk, so there was barely an empty seat throughout the weekend. People came and went, picking the talks that suited them and there was a programme of fringe events taking place about the island.
The intimacy of the venue at the Island Hall also meant that the dozen authors and the public mixed freely. There was no ‘Green Room’ for writers to be whisked away to by their agents or publicists. Refreshingly the talks were not simply a plugathon for the author’s new book, but plunged deep into discussions of historical fact and fiction, and indeed the point at which these transition into myth.
I wasn’t speaking this weekend, being principally a paying punter. I did however have the fun of introducing Professor Gary Sheffield’s talk on the end of the First World War, and brought away a copy of his book on Douglas Haig, from the Somme to Victory. The outcome of the Great War did much to shape the modern world, as did the outcome of the Second; the way we have built myths around that conflict were presented by Keith Lowe.
In what could have been the graveyard slot on Saturday evening, I also introduced Anthony Riches, energetic author of a dozen Roman epics which he writes at a dizzying rate. His talk on the evidence for Post-Traumatic Stress Disorder in the ancient world was thought-provoking and questions could have gone on all evening. Also taking no prisoners was outgoing Chair Simon Scarrow and his look at the so-called ‘End of History’, and where the deluge of data now available on the internet left the modern historian. Our own Liz Walton gave a talk on the Great War in the Channel Islands – I edited her book and was pleased to see it selling well on the bookstall.
Great fun, great conversations, great food washed down with a fair amount of wine. Local volunteers put a lot of work into this festival, which was supported by the Guernsey Arts Commission amongst others. With luck, and with the help of much-needed support from sponsors, Alderney Litfest will be back at the end of March 2019.
Luke McCallin’s third novel featuring war-weary German detective Gregor Reinhardt is a corker. Whilst the first two novels in the series saw Reinhardt finding justice amongst the horrors of the Nazi-occupied Balkans, the third find him in postwar Berlin. The city itself is a major character of the book, as indicated by the title. Shattered buildings and rubble-choked bombsites are ever-present. Feral children run among the ruins, widows survive however they can and former Luftwaffe pilots find that for them, the war is not quite over. Berlin’s police force is a thrown-together collection of old school ‘crows’ like Reinhardt, cocky newcomers, and placemen of the Russian, British and American occupiers whose motivations can never be certain. As Reinhardt hunts a vicious killer through the physical and emotional wreckage left by the war, he has few allies, and even fewer he can trust.
The historical detail always feels right, which in turn creates that essential ‘period feel’. This is not just another detective story that could be transplanted to the streets of New York. As with McCallin’s previous books, the author takes no prisoners and does not spoon-feed the reader. We must keep up with the shadowy characters of five nationalities who weave in and out of the story and quickly adapt to the military and political jargon of the era. His hero is not a superman, just an honest policeman looking for the truth whilst others would rather look the other way.
The Ashes of Berlin is published by No Exit Press.
The Story of Guernsey is published in German this week. It is an introductory history of Guernsey profusely illustrated with images from Guernsey Museums’ collection, aimed at the general reader, visitors to the island and older children. The English and French editions of this book have already made it the Museum’s best-selling non-fiction work.
I’m pleased to see this out in German and have to thank my friend Tamara Scharf for translating it, Elke Spangenberg for proofing the text and Christine Zürcher for the final proof-read. My schoolboy German wasn’t up to more than browsing through to check that the final copy looked okay. As usual Paul le Tissier laid out the book; always a complication when a paragraph in another language is not the same length as in English. The book is now on sale from outlets in Guernsey and via Guernsey Museum’s online Amazon shop.