The Last Lancer at Tidelines

 

My dad, his father and mother, in Dziedzilow c1928

I'll be at the lovely Tidelines book festival this coming Saturday, 23rd September, chatting about my new book, The Last Lancer, with Eleanor Thom and David Manderson. There are still some tickets available, so do come along if you can. 

If I'm honest, this book hasn't had nearly as much publicity as I expected - because although I researched it over a number of years, and mostly wrote it during Covid, it became all too horribly relevant, when Russia invaded Ukraine. 

I suspect some of this may be down to the sheer lack of perception of just how complicated borders are in that part of the world. Although my late dad was Polish, he was actually born and spent much of his childhood in what is now Western Ukraine, before successive occupations changed everything. That fact - and what happens under occupation - seems to be beyond the comprehension of most people in the UK where borders haven't changed for many years! 

I thought - and still think - that some understanding of what those shifting borders and allegiances might mean for a family caught up in the middle of it all would make interesting reading.

So if you can, why not come along and ask me some questions about it yourself! You can browse the Tidelines site here.

And if you would like a copy of The Last Lancer, you can buy it in paperback or as an eBook. 

Invisible Fictions (And Non-Fictions Too)



‘Many women complain the moment they turned 50, people stopped seeing them. People push past them in queues, men look through them, and shop assistants ignore them.’ 

I came across this excellent post only the other day. It’s well worth reading in full. 

I’ve blogged about this phenomenon before – you can read my most recent post here – but at that time, I concluded that I wasn’t (yet) invisible. Just able to be ignored, like a piece of furniture. Now, I’ve changed my mind, bowed to the inevitable. I am invisible.

50 was certainly when the process started. A bit like that wonderful Tove Jansson story, the Invisible Child, except in reverse. In Jansson’s story the child starts off invisible and gradually becomes visible when she is treated kindly.

For older women, it works the other way. You just grow ever fainter, until people ignore you altogether. Men certainly notice you when they want to tell you that you’re wrong, but in the publishing industry, many young women also tend to ignore older female writers as far as possible. I sometimes feel that there's a weird sense of embarrassment on their part, as though they have no idea what to make of you and would rather you didn’t exist at all.

Writers are so afraid of repercussions that we tend to keep quiet about our experiences. But since, professionally at least, I have now achieved almost complete invisibility, I may as well shout into the void.

Here’s what happened just this year.

In February, I had a new book published. It’s called The Last Lancer and it was very close to my heart, a companion to my previous book about a murder in the poverty stricken Leeds Irish side of my family: A Proper Person to be Detained. 

This one is about my grandfather’s eccentric and tragic family history in Poland and Ukraine. I’d researched most of it throughout lockdown although my late father had also written down some of his memories. The story would – I hoped – be entertaining, harrowing and informative. But with Russia’s invasion of Ukraine, it suddenly became all too horribly relevant as well. Or so I thought.

Dad was born into the szlachta – the Polish nobility, more Mitford than Downton, I always think. After an idyllic country childhood in what was then Polish Galicia, but which is now Western Ukraine, he lost everything in the war (although he was luckier than his father who lost his life as well.) My father arrived in England as an unwelcome ‘refugee alien’ at the end of WW2, with nothing but a handful of photographs, a tiny silver mirror that had belonged to his mother, and his army identity papers, on which, under ‘next of kin’ he had written the Polish phrase meaning ‘closest family to nobody.’ He literally had nobody and nothing.

You would think, given Ukraine's current fight for existence, alongside our preoccupation with migrants, that the book might have received a modicum of attention. It was praised by no less a person than Neal Ascherson, who has forgotten more than most of us will ever know about Poland and Ukraine and the complex, troubled history of that region.

Well, you’d be wrong.

On publication day, back in February, nothing happened. No reviews, not so much as a postcard to mark the day.

In fact, if a couple of Polish friends hadn’t turned up with chocolates and flowers, whereupon we opened a bottle of cava and ‘wetted the book’s head’, there would have been nothing to make the day special at all.

I had launched a number of previous books in our local Waterstones, so I was hoping for another launch there, because lots of friends and acquaintances always turn out and buy books, but no word came from my publisher, who had organised previous launches. To be fair, if I’d known, I would have organised my own launch party - almost certainly in this village. But I didn’t know, because I had made assumptions based on past experience. Silly me.

Meanwhile, I was doing my best to promote the Last Lancer online. I did a long interview for one of Emma Cox's excellent genealogy podcasts, which you can listen to here. The book is only tangentially about genealogy, although the podcast is certainly interesting for anyone researching their Eastern European family history. I wrote blog posts and shared them. I posted photographs and links on social media.

Spring and the brilliant Boswell Festival came along. Like Brigadoon, I became happily visible. I spoke about my father’s experience, sharing the stage with a young Ukrainian woman, a refugee as my father had been. She related her heartrending escape from her home, under Russian bombardment, with her five year old daughter. The event was well attended, well received and very moving indeed. Afterwards, somebody said to me ‘I could listen to you speak all day.’ Which was a relief, because I had begun to wonder if I had become boring as well as old. But I think we could have listened to the Ukrainian woman all day too. And wept with her.

After that came silence except for another all too brief period of visibility on stage at the excellent Tidelines festival in Irvine.

I tried contacting my local libraries, offering to do talks. No response. Not one. I sent out a great many copies of the book, at my own expense, including some that should have gone as advance copies to people who would have reviewed it. So much so that I’ve almost run out of my own copies, and now – hilariously, if it wasn’t so irritating – my book orders have been ignored as well. Emails and phone-calls remain unanswered.

I had high hopes when my publisher went to the London Book Fair, but when she reported that the focus there was all on Ukraine, I wondered if anyone had pointed out what the book is actually about: the terrible, troubled history of - you know - Ukraine, as experienced through the eyes of one family.

I’m told it’s a ‘niche market’ but a Polish diaspora of 20 million people worldwide is a pretty big niche. You'd think somebody might want to publish a Polish language version, but apparently not. 

This is just the tip of the invisibility iceberg. There are so many examples of my current invisibility that it would become monotonous to continue to relate them. So I won’t. Like a passing comet, or a blue supermoon, I may become briefly visible again at some point in the future, but I can't say when. 

Most people in the book trade will tell scathing tales about ‘needy writers’. Very few will admit that there are invisible writers. Well reviewed writers. Older female writers. Angry writers. But it’s OK to be angry when you’re invisible, because nobody at all will notice. 




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Some Book Recommendation - Books about European History

 


A little while ago, I wrote this piece for a fairly new site called Shepherd.com 

It was a great pleasure - and certainly related to the massive amount of research I had undertaken, both for my new book, The Last Lancer, about the Polish side of my family, and a previous 'companion' volume, A Proper Person to be Detained, about the Leeds Irish side.

But in considering which books to pick, I was also taken back to the research I had done for my novel The Jewel, about Jean Armour, Robert Burns's longsuffering but largely unsung (except by the poet himself!) wife - and back even further to my radio dramatisation of Stevenson's great adventure story. 

Most writers are very fond of reading so it's good to be able to write about the books that we've loved enough to want to recommend them to other people. 


Listening and Watching - The Price of a Fish Supper


 A couple of weeks ago, MAD Productions staged another handful of performances of my play The Price of a Fish Supper, originally produced at Glasgow's Oran Mor as one of their A Play, A Pie and a Pint series. It's a single hander, i.e. a long monologue and consequently a very 'big learn' for the actor involved, but Ken O'Hara (above) has made the part uniquely his own. 

For me, once he is on stage, he is Rab, the troubled but essentially decent ex-fisherman who hangs about the harbour and tells his tragic (but often very funny) story to whoever will listen. 

It's a play about the long, sad demise of the traditional Scottish fishing industry, a play about friendship and family, about where and how people fit into the world in which they find themselves, and the possibility, or otherwise, of redemption. It's a play that tackles adult themes and pulls no punches. 

Thanks to Ken O'Hara and to Isi Nimmo, who directs, the play has had a long life beyond that first well reviewed production. I've done the occasional after-show Q & A session. Every single time, somebody has asked me or Ken if he ad-libs it. And every time, he points out that, with the exception of the very occasional phrase, it was all written down. Carefully constructed by me. Even down to the way it's written on the page, orchestrated, almost like a long poem. (If you want to see for yourself, it's available here, published by Nick Hern Books.) 

I always wonder if they would ask the same question if I were young and male. I suspect not!

All the same, it's Ken who brings Rab vividly to life. Plays are meant to be experienced in performance. Not as words on a page.

It also makes me think about how Rab first came into my mind, telling me his tale before he told anyone else. Which is what it feels like to write in a single voice like this - you listen and your character speaks.

In the 1970s, I did a postgraduate Masters in Folk Life Studies. My dissertation was on the fishing traditions of the Carrick district of South Ayrshire. I interviewed many elderly fishermen over a period of a year. and their vivid descriptions of the herring fishing have stayed with me ever since. Even more to the point, my husband was once a trawler skipper here in Ayrshire. Eventually, he moved on to skipper charter yachts and then came ashore to work as a woodcarver and artist, but he too had stories to tell. We had and still have friends who worked at the fishing. So there was a certain amount of immersion going on for me - and many of the tales told in the play are certainly based on truth.

After the most recent production of Fish Supper, it struck me that one of the most valuable pieces of writing advice I can give anyone - whether you're aiming to write plays or fiction - is to watch and listen. Watch how people behave. Listen to how they speak.

You have to be fascinated by people. All kinds of people. What they do, what they say and how they say it.