Literature, Genre, and Geeks

In the last week, there have been a lot of threads on Facebook and writers’ sites about genre, and the challenges of classifying books. Back in August, the Hugo Award-winning SF & Fantasy site, SF Signal, asked me to write a guest blog on the subject. Here are my thoughts; click the image for the original article.

SFS

Literature, Genre, and Geeks

Tag me with a genre label and I’ll probably wince. They’re like that childhood game of pinning the tail on the donkey, blindfold, except I’m the donkey. Every now and then there’s a pinprick and I find another useless appendage dangling from my ear or nostril. HF, UF, Fantasy, Dark Fantasy…I’ve been stuck with them all.

My irritation with labels began with the slight sneer of superiority about genre; that sense, on my journey to publication, that I was on the wrong side of the tracks. I had this bizarre vision of being greeted by a marketing executive at a great but imaginary literary establishment. “Literary Fiction? Over there, sir, the smart chaps in suits and cufflinks. Historical? Down the passage, mate, look for the swords, sandals, and bodices. Fantasy? Downstairs, guv. We don’t let no geeks up ‘ere.”

Literary snobbishness aside, the real problem with genre labels is that this convenient, box-ticking marketing machine has little room for grey areas. It seems to be designed for publishers’, distributors’, and retailers’ convenience. By superimposing structure onto a craft that is inherently qualitative, it primarily benefits the publishing machine, not the author or the reader. It thinks in lists; the SF list, the HF list, the Chic Lit list (and I couldn’t say that after a glass of wine), whereas writers create word pictures that should be art rather than paint-by-numbers. We need the freedom to stray across boundaries.

I like ambiguity, you see. I inhabit the hinterland where history becomes fantasy, and both cross the border into literature. I enjoy ghost stories where a plausible explanation still lingers in the background, or the kind of fantasy where the real world is touched by magic the way sunlight glints on water. Blink and the light may have gone, but the scent of an otherness remains.

I suppose I should blame the world I live in. The real one, that is, not the caverns of half-constructed mental space called ‘Works In Progress’. My real world has history written across its landscape; place names that tell of Saxon settlements, winding lanes that an English drunkard made as he lurched home from the mead hall. The past lives around us in the present, but what if those distant ancestors could speak to us? What stories would come alive?

So much of writing, I find, starts with that question “what if…” Take the village of Allingley, for example, a dreamy place on the banks of the Swanbourne. Allingley would have been Aegl-ingas-leah in Anglo-Saxon, the clearing of the folk of Aegl. What if this was the Aegl of Saxon legend, the mighty archer whose love was Olrun, the Swan Maiden?

I like joining the dots, even if the dots sit in different boxes of the marketing machine. When Saxon’s Bane was still a vague idea, I saw an article about the millennia-old bodies that are occasionally found in peat bogs, with their features sometimes so well preserved that they seem simply to be sleeping. Many of them were ritually slaughtered. Now, what if a peat-preserved Saxon grave was discovered on the outskirts of Allingley? What if an archaeologist developed a preternatural understanding of her project? What if the present day started to mirror the ancient, bloody past?

I’m back with the marketing exec. “Bit historical, are we?” he asks in a tone of voice that suggests ‘historical’ is a nervous condition. “But set in the present day? That won’t do, then…” Much sucking of teeth as he looks down his lists. “And a ghost, you say? That’ll be fantasy, then. Mind the steps; it’s a bit dark down there.”

I know, I know; genre labels help to point readers towards books they might like. Labels become banners under which people of similar interests can congregate, for example in forums like this one. But sticking a genre label on a book is not an indicator of quality. A bad book doesn’t become an Iain M Banks classic just by labeling it ‘SF’. A good publisher, on the other hand, is highly selective, invests in its authors, and won’t touch cr@p. First division authors such as the late and much loved Iain B are sufficiently established to have a brand of their own, but for the rest of us, being associated with a publisher’s brand helps us towards stardom. Maybe there’s a case for publishers to promote their brand values a little more? More branding, less tagging?

And in the mean time, I’m writing fantasy. With more than a dash of history. It’s quite literary, I’m told, but reads like a thriller. Oh, and there’s a dash of romance thrown in.

Hell, it’s a ghost story.

 

When I were a lad…

After Niall Alexander kindly reviewed Saxon’s Bane on his brilliant site ‘The Speculative Scotsman’, (click the image to read it) he kindly invited me to write a guest post. He even gave me the subject of ‘History in Fiction’ to link in to previous posts.

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The subject started me thinking. Here, with Niall’s permission, are the results:

“Ee, when I were a lad…”

Elderly relatives used to start their reminiscences like that when, er, I was a lad. I remember folding my face into an attitude of dutiful attention as I wondered how long I’d have to endure some fragment of ‘ancient’ history. After a while, I’d squirm and find an excuse to slip away. After all, I was force-fed enough history at school, fact by repetitive fact.

“Kings of England, William the Conqueror onwards!” a master would bark. The Norman Conquest was, after all, the date when all history started, as every English schoolboy knows. “Who can tell me?”

“Sir, sir, me sir! William, William, Henry, Stephen, Henry, Richard, John…”

I don’t think I differentiated between taught history and living history, as a boy. History was all about facts to be regurgitated, not experiences to be felt. What could those relatives tell me? First hand accounts of battles would have been interesting. In my childhood, there were still old folks alive who’d fought in the First World War. One relative had even survived both Flanders trenches and the Russian Revolution. My father fought with the Eighth Army in North Africa. Frustratingly, none of them wanted to talk about their battles, at least not in the heroic language a schoolboy craves. They’d flinch away from a direct question, but as I grew older, fragments of their memories sometimes fell in softly spoken words, and the mood would go still, tightening into itself. In that silence I glimpsed the stuttering terror of close-range tracer fire in the night, or felt the anguish of a survivor of atrocity. But by the time I was mature enough to listen, many of the stories would never be told again.

I think those fragments roused my interest not in ‘what happened’, but in what it felt like to be there while it happened. The perspective of the peasant, not the lord, the common soldier rather than the general. I also came to understand the impact on people, who seem with hindsight rather like trees that have survived the crushing weight of a boulder; take away the stone and the tree may thrive again, but not always in the pure shape that nature intended.

When I were a lad… we were taught the sequence of history. It might only have started in 1066, but that rote learning gave us a framework on which to hang deeper study. It might have been an overwhelmingly English framework, but I feel no need to apologise for my schoolmasters of old. They in turn had grown up in a place and an era of Imperial hubris, a time when God was an Englishman and had commissioned the British to civilise the world in their image. My offspring react with understandable horror to the mores of Empire, since in today’s era of the educational project or module, they have little understanding of trajectory or context. If I try to explain the attitudes of British society in my childhood, during that brief era between the end of Empire and the advent of mass immigration, they react as if I’d tried to deny the holocaust. They can describe immensely important subjects like the slave trade, but have no knowledge of the origins of their own people.

So what has all this to do with writing fiction?

At the risk of sounding grandiose, history is the backstory we all share. Villages in my part of England can often be traced to a Saxon warlord who chose the spot to ground his spear and plant his generations. That winding country lane has probably been there since an ox cart found the easiest route through the woods. Those invaders, settlers, and opportunists were storytellers, not writers, and they told their stories in the West Saxon tongue that would become the first global language, Ænglisc. They kept their own history alive in legends, some of which yet survive. Beowulf, Weyland the Smith, and Weyland’s brother Egil or Ægl who married the swan-maiden Olrun. Historical fiction was a dominant cultural force millennia before publishers called it ‘genre’ and eased it into the literary sidelines.

Personally, I like to write stories that have an echo of the past; not so much historical fiction as history in fiction. So I set Saxon’s Bane in a village called Allingley, which would have been Ægl-ingas-leah or ‘the clearing of Ægl’s folk’ in Anglo Saxon, a sleepy village on the banks of the Swanbourne. It was fun to reach back to the origins of the Ænglisc and to bring a legend to life in the present day. They’d have been just like us, those distant ancestors. Their fear would have been the same, even though the aggressor carried an axe rather than a machine pistol. All it takes to go back there and to make history come alive is a framework of facts and a little imagination. The imagination that sees an old veteran, perhaps, who sits by a fire and stares dewy-eyed into his mead, and says to the youth in the rushes at his feet, ‘now, when I were a lad…’

“Nú, hwonne ic waes cnap…”

The (equine) inspiration

Since Saxon’s Bane was released the question I’ve been asked most frequently has been “what was your inspiration?” The literary answer has been covered elsewhere in several guest blogs, but I have to admit that one character in the book was drawn from life, in the shape of a four-legged, 700 kilo friend who is exceptionally fond of Polo Mints.

Bally & helmetSeveral reviewers and bloggers have commented on the way Saxon’s Bane touches on the healing power of horses. It isn’t the primary theme of the book, but much of the plot is set in a stables, and the main character Fergus’s growing bond with a horse is a factor in his journey towards wellbeing. In his first encounter with a horse, he finds the touch ‘unexpectedly comforting, like a distant echo of childhood, as if he was once again a hurt infant who had found a soothing presence that was large and gentle and warm. […] the horse lifted its head and touched its muzzle into the angle of Fergus’s neck, holding it there so that the warmth of its breath brushed over his skin. A strange sense of harmony started to fill Fergus’s mind at this unquestioning animal contact. It made him feel naked, with the essence of his being visible to the animal. Not judged, simply known, and accepted.’

I have not, in the years that I’ve been riding, been in the same need of healing as Fergus, but I have seen the transformative power that horses can have on damaged people, at both an emotional and physical level. What better excuse to write a friend into the story?

Bally ODESo let me introduce Bally, or Ballycormac Boy to give him his full name, who’s a 17.1 hands Irish Hunter that I bought in Ireland in 2005. He now belongs to a very good friend and his wife, who are kind enough to let me ride him regularly. We even compete from time to time, at a very local, amateur level.

Bally now lives on the edge of Hodgemoor Woods in Buckinghamshire. The Hodgemoor Riding Association (HRA) works in partnership with the Forestry Commission, raising funds from members to maintain the woodland tracks for all users. A local retailer is co-operating with HRA to offer signed copies of Saxon’s Bane at £6.99, including UK postage, of which £1.00 will be donated to Hodgemoor Riding Association.

If you’d like to take advantage of this offer, click on the small horse’s head image below (yes, that’s Bally!) and you’ll be redirected to the relevant page on the HRA site.

Bally
HRA

Interview posted on YouTube

Today is the UK release date for Saxon’s Bane. To mark the occasion, Jonathan Oliver of Solaris sat me in front of a video camera and asked me loads of questions, ranging from my thoughts on genre, to the background to key characters in the book, and my writing journey. We even touched on the healing power of horses! The interview has been posted on YouTube at:

Saxon’s Bane launched!

A wonderful crowd of friends and family swelled the shoppers at The Forbidden Planet in Shaftesbury Avenue, London, on Wednesday night, for the launch of Saxon’s Bane.

My agent Ian Drury of Sheil Land Associates kindly kicked off the proceedings before I was persuaded to read the first chapter. SignatureA Q&A followed, in which the questions were mercifully uncontroversial but lively enough to swell the numbers queuing to buy the book.

GG_ID2

I’d found a very suitable wine, bottleso perhaps it was inevitable that a little frivolity would creep into the occasion, in which a Saxon replica helmet (gratifyingly close to the book’s cover image) featured heavily! GG_JG1

I was humbled by the number of friends who came along in support, some of whom had traveled a long way to be there. The Forbidden Planet team were stunned that I was still signing books when they were Q 2 signpreparing to close the shop, which I gather is almost unknown for a debut launch.

It was great to share a glass with friends and the guys from Solaris afterwards in De Hems. A great evening, with brilliant company.Deborah2

crowd

SophieCathCamillairajjoegg

USA & Ebook Publication for Saxon’s Bane

Saxon’s Bane is now available in print form (Mass Market Paperback) in the United States and Canada, and will be released in Trade Paperback format in the United Kingdom on 12th September. It is also available worldwide in all standard eBook formats.