New York Obsession

While I was preparing for my reading at Thame Arts and Literary Festival on Saturday it occurred to me that some people might think I’m obsessed with New York. The modern half of my novel Out of Such Darkness is set in its suburbs and my contribution to the Patrician Press anthology Refugees and Peacekeepers was a short story inspired by the rumour that on 9/11 somebody had managed to ‘surf’ down from the roof of one of the buildings as it collapsed and had survived to tell the tale.
The story I read on Saturday was one I had submitted for the next Patrician Press anthology Tempest. It is set in New York’s Chelsea Hotel in 1978.
My job took me, my wife and younger daughter to live in New York State from 2000 to 2003 and the experience clearly affected me more than I had acknowledged at the time. Manhattan is a uniquely vibrant city and we felt privileged to be able to take a train or car into its centre and stroll its streets whenever the mood took us. There’s a New York way of walking: you stretch your neck to admire the architecture hundreds of feet above you while, at the same time, looking ahead to bustle your way through the crowds and adhere to the ‘Walk’, ‘Don’t walk’ signs at the intersections that trip you every fifty yards.
As I write this I find myself asking the question: What can be more ‘New York’ than watching the musical 42nd Street in a theater (mis-spelling intended) on 42nd Street? (Which is something we did with my parents.) As if to answer it another New York story starts to bubble.


10 2018

Review: The Noise of Time by Julian Barnes

I was listening to BBC Radio 4 this morning. The programme was Only Artists in which individuals working in the arts have conversations. The painter Rose Wylie said this to the comedian Stewart Lee: “The higher up you go, the more you’re allowed to do what you want.”

You can’t get much higher as an English literary novelist than Julian Barnes. It’s a given that any book by him will be well written. Having won the Man Booker prize with The Sense of an Ending, and having it made into a major film, he pretty much walks on water. In Rose Wylie’s words he’s allowed to do what he wants.
But I can’t help thinking about a parallel world in which Julian Barnes the Unknown pitches his first novel to a publisher thus: ‘It’s an imagined journey into the mind of the Soviet composer Dmitri Shostakovich. I chart his life (or what I think he made of it) in random mind-vignettes that could be read in any order because the chronology of the thoughts is irrelevant. Nothing is made up. There is no interaction with others except in his thoughts.’
Would Julian Barnes the Unknown have been published?
My brother, Dave, once told me the story of a young student (I can’t remember if it was Dave himself) who worked in a bakery. His job was to impale donuts fresh from the cooking process onto a spigot and pull a lever that would inject them with a measured dose of red jam. In order to give some interest to this repetition, sometimes the student would impale the donut but omit to pull the lever. He found some consolation for the drudgery of the job by imagining the disappointment that the buyer of the empty donut would feel.
For me, reading The Noise of Time was like biting into an empty donut. I felt cheated. I missed dialogue. I missed the logic of a chronological plot. I missed a properly told story.
And, as for the jumbled arrangement of the ‘chapters’, BS Johnson did it, and did it better, in The Untouchables, his ‘novel in a box’.
I liked The Noise of Time. I admired it. But …



11 2017

Sour Grapes and Robert Galbraith

I admit it, I’m envious of Robert Galbraith’s success. This is a writer who appeared out of nowhere, secured a publishing deal and has enjoyed huge sales for books that, judged by the precepts that wannabe writers are advised to stick to, should still be languishing in the slush pile.What is it about this guy?

If, as I have, you attend talks given by agents and publishing editors you will be told the basic rules that have to be followed if you want your manuscript to emerge into the light of publication. These include:

  • Write in properly constructed sentences.
  • Do not overuse adverbs.
  • Never use adverbs when attributing dialogue: ‘he said’, ‘she said’ is sufficient.
  • ‘Show don’t tell!’ In other words demonstrate characteristics, mood, tone etc. by showing how people are reacting to events or interacting with each other not by ‘tell’ statements. ‘Strike winced and rubbed his knee.’ is showing; ‘Strike was in pain from his knee (again).’ is not.
  • Don’t use obscure words when perfectly serviceable well-known ones will do.
  • Avoid clichés, especially where body parts are doing strange things. Eg. ‘Detective Sergeant Ekwensi then let her eyes stray around Strike’s glorified bedsit.

Robert Galbraith has chosen to ignore them. His prose is littered with what we are told are the literary no-no’s that doom a manuscript to never being more than that – a manuscript.

It makes you wonder what is it about him and his writing that saw his first book The Cuckoo’s Calling achieve not only publication but also bestselling status.

Follow the links to my Goodreads reviews of the second and third books in the Cormoran Strike series: The Silkworm and Career of Evil.



10 2017

Another 5* Review

No_Mean_Affair_Cover_lowI was very happy that No Mean Affair received such an enthusiastic 5* review from ‘Amazon Customer’ on the book’s page in Amazon recently. The reviewer says:

“The setting of a lot of the early part of the book resonated with my own Glaswegian upbringing and Robert’s description of life in the city at that time is brilliant, so I was hooked from page 1. Whilst a political novel is not my normal reading fodder, I found the story extremely compelling, and you really do feel for the central characters, with their love affair at once conflicting and assisting their individual political ambitions. I read this book in one 3 hour sitting – ‘couldn’t put it down’ – ‘page-turner’ and all those other cliches really do apply here!”

Thank you ‘Amazon Customer’!
You can read the review in situ here. It’s the place where you can buy the book in both paperback and Kindle versions.
If you’d prefer a signed copy, please contact me direct:


07 2017

Review – Where My Heart Used to Beat

Where My HeartI read this avidly, hungrily devouring the pages.
The protagonist is Robert, a flawed everyman who has lived a life but now, in its autumn, questions some of the decisions he has made (or, rather, has had made for him), the paths he has travelled, and the loves he has lost. But as I followed the path laid down by Mr Faulks I started to feel the structure of the plot creaking beneath my feet.
After an interlude in a New York hotel to introduce us to Robert, a character whom he wants us to be interested in but not admire, Faulks starts the action with a series of telephone messages. The most interesting of these is a McGuffin. Never expanded upon. Never explained.
Two of them lead Robert to take trips that prompt him to examine his past. The flashbacks and the flashbacks within flashbacks are hard to follow at times but Faulk’s excellent writing holds the reader in. Robert’s life is interesting and his forays into the world of neurology and psychoanalysis are illuminating.
But, for me, the book is flawed because Faulks drips information out at an unrealistic rate in order to create the space for the plot. A character called Pereira withholds information for no good reason other than Faulks needs him to. Robert fails to follow leads because, otherwise, the book would finish to soon.
The plot’s timing requires an act of monumental selfishness on the part of Pereira to combine with an act of superhuman disinterest by Robert to produce an ending that crashes in on itself and is likely to leave you shaking your head.


06 2017