When I started working on the project that became Shark Alley I still had a fifth-floor office at the University of Fukui, writing at an old metal desk by a huge window, its massive concrete sill cracked by earthquakes, looking out across a vast cityscape towards snow-capped mountains and the Sea of Japan.
On the night of Friday, February 16, 1821, two men faced each other across the field of honour, a wooded knoll beyond the Chalk Farm Tavern near Primrose Hill, to the north of a great chase that had yet to become Regent’s Park. This had been the scene of many duels; there were no neighbouring houses, just open fields hidden from the nearest road by a screen of trees. One of the men had left half a bottle of wine at the inn, telling the landlord he would be back to finish it later.
In writing a novel, it is not just your protagonist that embarks on a journey but you, walking alongside your fictional companion like a medieval hero and his chronicler. This is a long road so imagine it as you like; perhaps carrying a shield upon your back and a sword in your hand, hiking in the woods with your best friend, or maybe doggedly pushing a shopping cart with your kid through an apocalyptic wasteland armed only with a revolver and two shells.
I do not believe in anything. My dear wife was always more religious than I. That is to say she was more open-minded when it came to matters spiritual and incorporeal, tending towards a polite agnosticism over my own intractable atheism, and general scepticism towards the supernatural beyond the pages of my own fiction.
here are few things finer in the creative arts than a project that is totally unexpected but in hindsight makes perfect sense, like the end of a really good novel. The album This Time It’s Personal (Sony 2016) is one of those projects, a musical collaboration between the godfather of performance poetry, Dr. John Cooper Clarke, and legendary guitarist, singer/songwriter and author, Hugh Cornwell, the original Guildford Strangler, a cultural event as modest as it is huge.
For Remembrance Day, this is my maternal grandfather, Alexander Kennel-Webb, who I think was in the 8th (Service) Battalion, Norfolk Regiment. Service battalions were part of Kitchener’s ‘New Army,’ and were raised entirely from volunteers. (My father’s father, James, was a professional soldier; an RSM in The British Indian Army, he returned home during the war to train volunteers like Alexander - I don't have a picture of him in uniform.)
Nowadays, the image of Guy Fawkes – the man who tried to blow up Parliament on November 5, 1605, assassinating James I so a popular revolt could install a Catholic monarch – has become synonymous with anti-establishment protest. This modern symbolism began in the British comic strip V for Vendetta, a dystopian revenge tragedy with an anarchist heart by Alan Moore and David Lloyd (1982 – 1988) produced during the darkest decade of Thatcherism.
I was having had a spot of bother with a rich man’s wife. She was older than me but I didn’t care. I just wanted her, like some strange and terrible drug. It was the usual story. She’d married young, enticed by the charm of a mature and successful man, and the stability that comes of secure investments. The age gap had not seemed so much when she was twenty and he was fit and fifty.
The current fashion for talking to the dead started about four years ago. While Europe was in revolt and the Chartists were falling apart, across the Atlantic the veil was lifting. It began in a desolate farmhouse in the Hudson Valley, where the Fox Sisters, Kate and Maggie, struck up a dialogue with an entity that had been nightly tormenting the family by banging on walls, doors and windows. They asked the presence questions which it affirmed or denied by rapping, clearly indicating some sort of intelligence. The girls called it ‘Mr. Splitfoot.’ They said it was the ghost of a murdered peddler.