Showing posts with label war. Show all posts
Showing posts with label war. Show all posts

Thursday, 19 April 2012

My favourite dress


Blood had soaked through the front of my dress, turning green silk to black. The shawl covered part of the stain, but I kept to the shadows and the narrow streets, avoiding anybody who might remember seeing me. I could faintly hear the music, echoing between the stone facades of the trading quarter, but nothing to suggest the alarm had been raised.


The last time I had worn the ball gown was on the eve of the war when I danced with Gabriel York and, with his assistance, murdered Admiral Morton. Since then it had spent five years stuffed in a travel case and dragged from one posting to another, but the chance to wear it again never arose. Despite that, it looked pristine as I waited in the market square, watching a small group of musicians set out their instruments. The sun was setting over the castle hill and lanterns were being lit by the owners of the bars and restaurants that had re-opened, now that the war was almost over.
  He strode across the market square, radiating authority and purpose. His greatcoat displayed medals that weren’t there when we last met, and each one of a row of silver stars along the left sleeve signified an enemy ship destroyed. As I moved to cross his path, I hoped he would remember me. My hair was longer, and a different colour. He had shaved his head and grown a goatee beard. It made him look dangerous; it suited him.
  “Admiral York.”
  “My lady.” If he was surprised he didn’t show it. Once again he bowed and kissed my hand. “You look different, but as beautiful as I remember. I have thought of you so often.”
  This surprised me. We had been together for only one night and so many terrible things had happened since then.
  “I would have expected a warrior to think of nothing but war. You have been most successful.”
  He didn’t reply, but led me to a table outside one of the bars. We sat and he gestured an order to the waiter.
  “Success? Yes, we have almost won. But the cost has been so high. I have lost many ships and thousands of men. And the war has taken a toll here too. Before the war, we prized art, music, poetry. We were civilised. Now, all that matters is protecting the state. And we have done many terrible things to achieve it. I have done terrible things. Everything is different now. Everybody is different, and something important has been lost.”
  He fell silent as the waiter brought glasses and a dusty bottle. He showed the label to York, who nodded his approval. As the waiter poured the first glass, a clarinet began to play, an argument against York’s words drifting across the square.
  “In times like these, everything needs someone to keep fighting for. I don’t know why, but all these years I thought of you. Wondered where you were. If you were still alive.”
  “Me? But you have family. Your brother?”
  “We were never close when we were young and, once we grew up, our paths were decided for us, just like the children of all the old aristocratic families. The first son goes into public service, the second into the military. I hear it said that he will be the next Prime Minister. I’m pleased for him, but we’re almost strangers.” He took a sip of the wine and looked me in the eye. “Five years and every day it’s you I’ve thought about.”
  I understood. I didn’t want to, but I felt the same. We had only been together a few hours but, in that time, we had shared an experience that bonded us intimately and inextricably.
  The band was playing melancholy tunes and few couples were dancing. York was right; before the war the square would have been packed, the crowd swirling to fast and exciting melodies. York put his glass on the table and stood. He laid his greatcoat over the chair and held out his hand towards me.
  “My lady, will you dance with me?”
  “Admiral, I’d be honoured.”
  We held each other like shipwrecked survivors cling to wreckage, like we were the only two people left. I lay my head on his shoulder and his jacket absorb my tears. I hardly heard the music; just let myself follow where he led. As one piece finish, he muttered “Enough of this.” and called an instruction to the musicians. They conferred briefly and then struck an opening note. Naval officers, all drawn from the elite families, were schooled in etiquette and the full range of social skills. His tango was impeccable; aggressive and arrogant, but not aloof. Every time we faced each other, his eyes locked on mine. I saw no fear, no regrets, and even the question I feared most wasn’t asked. But he already knew why I was here, and I could see he understood, even if I did not.
  The music came to a close and I took his hand and led him into a narrow alleyway, pushing his back against the wall. As I pressed my lips to his it would have been so easy to succumb to the passion I felt rising. To abandon everything I was and beg him to take me with him. Then there was a knife in my hand and I thrust it upwards with all my strength.


Training had taken over and I ran, putting as much distance between myself and the market square as possible. Twice I stopped and almost went back, but there was nothing I could do for him now and no help that I could bring to save him. York was dead; my knife had pierced his heart and his blood marked me for the crime.
  I would have given everything to spend the night with York, but it was not to be. I did not choose my profession; indeed, I was never given a choice although I had never been ashamed to embrace it. I had done many terrible things to protect the state, but surely none worse than this. Morton had to die to make way for a far superior man and there was honour in that; but I killed York and never knew why it was necessary.
  I had to press on, not through fear of imprisonment, but because I served the state and it would have need of me again before the war was over. By daybreak I would be back in the capital and deep within the corridors and chambers of the Department of War. I would inform Minister York of the death of his brother, and he would give me my next set of orders.

Tuesday, 27 March 2012

I am not a free man, i am a number

What makes a truly great novel?
Blogspace is full of people who will tell you the answer to that question (and it invariably uses multiple use of the word 'edit')

I was wondering, is a novel only great if i understand what the author was trying to say?
Or, alternatively, can we be pursuaded that a novel is great if, after the fact, we understand what the author was trying to say?

I'll use a couple of examples. The first one isn't a book

You may have been to Portmerion - it's a village on the Welsh coast. if you've not, you might have seen it on the box as it's the setting for the original version of The Prisoner. It's very pretty, with italionate architecture and nooks and strange shapes and build on a 2/3 scale (although people manage to live there).
I hated it. it ticked the Trying Too Hard box and i couldn't understand what the architect was trying to do.We went to find the cafe.
Near the middle of the village there's a shed, with a film on repeating loop. In the film the architect, Clough Williams-Ellis, explains what he was trying to do. Lightbulb moment. When we came back out i looked at it in a different way and loved it


So, to a book. I've just read On the beach by Neville Shute. It's about a small city in Australia in the last 4-6 months before the radiation from a nuclear war arrives.
Rather than desperately trying to find a way to survive, they spend the time having dinner parties and saying 'don't worry it will all be over soon.'
i can't decide whether Shure was portraying some sort of colonial stiff upper lip, or how people behave when they believe there is no hope.

This is the way the world ends
Not with a bang but a whimper.


Although i don't understand it, PJ O'Rourke called it the best novel ever written. i hated it.

Having said that, i suspect that, even if i'd understood it, i'd still have hated it.it's so turgid and small and I only continued to the end to find out how they eventually manage to save themselves.

SPOILER. They all die. It's just totally depressing



You may be looking for the hidden meaning in my book.

SPOILER. There isn't one.

Wednesday, 8 February 2012

It's dark in here

I don't really know why, but i love antiheroes. Flawed, troubled or just plain psychotic, they're just so much more interesting than good guys. Early on i knew i wanted to create and develop characters that were ... ethically challenged.

I've just watched the best piece of telly this year. It doesn't sound like it would be, but (stay with me on this) Bomber Boys, with Ewan McGregor and his brother was great. Ostensibly about Colin McGregor learning to fly a Lancaster bomber, it actually took the time to explore a number of challenging things.

1) We see old men, but forget that they've seen and done things that we just cannot imagine. Some of those things were terrible. Does that make them terrible people?
2) War is prosecuted until there is regime change. Really it's between a handful of people on either side, but involves and destroys thousands or millions of people in the process. The section of the film that looked at the deliberate targeting of the civilian population was quite tough.
3) Soldiers have to dehumanise their enemy and that makes it easier to kill them. i read that a large proportion of bullets in WW2 were deliberately fired to miss, so not everybody is capable to do it.
4) Many bomber crews were determined that, if the plane was badly damaged, they would stay with rather than abandon their mates. Infantry also report that they don't fight for their country, or a symbol, or a concept. When the shit hits the fan, they're fighting for their mates.

So, normal people do terrible things when their lives, or their mates lives are at stake. The characters in Echo have all served in the recent war, but now they're fighting because that's what they do.

Echo herself is an assassin. She was raised by the Empire and indoctrinated to obey. She has never considered whether she has a choice and has been a killer for the last eight years. The body count, by the end of the book is more than fifty, and quite a lot of them weren't actually necessary.

York commanded an Imperial warship. Tens of thousands of enemy combatants were killed by his ships, and he is conscious that scores of his own crew have died as a direct result of his orders. Until now, he has never actually killed anybody himself although this changes and i enjoyed exploring the impact of that on him.

The Bad Girls are a squad of Imperial Guards who have sworn allegiance to York. Echo describes one of them: I looked into her eyes. This woman killed, often. Not that unusual for a soldier, but something in her eyes said she did it without a hint of remorse and she was totally untouched by it. It was like looking into a mirror. I'm about to write a scene where the Bad Girls get into a fight in a bar. I suspect there will be deaths, but they didn't set out to cause them. They fight and kill because they are ordered to do so. Only obeying orders. We've heard that before from concentration camps guards. Despite all that, i like to think that my characters are reasonably likeable people and the feedback from the first readers suggests that i was successful.

So, a crew of people doing terrible things. Are they terrible people? Possibly. Are they good characters. I'd like to think so, but i'm probably the least qualified person to judge.