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LOCATION, LOCUTION: For Stephanie Patterson, the role of expat historical novelist seems to have been predestined

Location Locution
Columnist Lorraine Mace, aka Frances di Plino, is back with her latest interview guest.

Hello again, readers. Last month I introduced you to expat writer Oliver Tidy, who found his calling in writing crime novels set in the UK once he became an expat in Turkey. For my guest this month, Stephanie Patterson, it was the other way around. Stephanie developed an early passion for places other than her home country of Germany, and for the English and Scottish medieval periods. In other words, it seemed almost predestined that she would move to the UK and write historical novels set in these places and times.

Although Stephanie first lived in Kent when she arrived in the UK 18 years ago, she relocated to Aberdeen and then, after a stint in Wales (Cardiff), where she met her British husband, Laurence, has lived in Edinburgh for the past 10 years.

Stephanie Patteson destiny

Photo credits (left): Stephanie Patterson in her beloved Scottish Highlands (supplied); Map of Germany, by Central Intelligence Agency; The main geographical divisions of Scotland, by SFC9394—both images via Wikimedia Commons (CC BY-SA 3.0).

Not surprising, given her proclivities, Stephanie believes the key to settling into a new country is total immersion. In her case this technique greatly improved her grasp of the language (she is a certified translator of English to German). It has also enabled her to write romantic suspense and adventure set in Scotland, England and Normandy under the pen name of Cathie Dunn.

In 2011, Stephanie and Laurence set up Crooked Cat Publishing on the model of an independent US publisher. To date, Crooked Cat has published over eighty paperbacks and e-books with authors across the world, several of which have won (or been shortlisted for) prizes. It has quickly developed a reputation for producing quality fiction.

As Cathie Dunn, Stephanie has two historical novels published with Crooked Cat:

  • Highland Arms, a romantic Scottish adventure (originally released through Wild Rose Press), set in Stephanie’s favourite area of the Scottish Highands: Lochaber. It’s the first in her Highland Chronicles series.
  • Dark Deceit, the action of which takes place in 1140s England and Normandy, when a brutal civil war is taking place. It’s the first in her Anarchy Trilogy, set mainly in medieval Normandy.

She has also self-published Silent Deception, a romantic paranormal novella set in Victorian Cornwall.

When she isn’t writing, editing or publishing, Stephanie is visiting castles, towns and cathedrals throughout the UK. A hobby historian, she has taken university modules in Tudor Studies and Scottish Studies. While in Wales, she took part in medieval re-enactment (the medieval and Jacobite eras being her favorites).

Stephanie’s love for medieval Norman history saw her back in Normandy for a holiday in July. Ultimately, she (and her husband) would not rule out moving to France one day, and, yes, she is currently studying French to improve her knowledge of language and culture.

* * *

Welcome, Stephanie, to the Displaced Nation. I think I can guess the answer but I’ll ask you anyway: which comes first, story or location?

Yes, as you probably guessed, I’m usually inspired by location and/or architecture first, which I then combine with potential plot ideas. My Scottish romance, Highland Arms, was born when I travelled through Glencoe and along the dramatic Loch Linnhe in the Scottish Highlands. The forbidding scenery (helped by the adverse weather of sleet, rain and fog) was the perfect setting for an adventure set in the 1720, featuring a smuggler. I always carry a notepad, and on that occasion I found it very useful for jotting down ideas.

Photo credits (clockwise from top left): Highland Arms cover art; A view of Glencoe, by Ronhjones via Wikimedia Commons[https://commons.wikimedia.org/wiki/File:Gleann_comhainn.jpg] (CC BY-SA 3.0) [http://creativecommons.org/licenses/by-sa/3.0/]. Loch Linnhe, by Moralist via Wikimedia Commons[https://commons.wikimedia.org/wiki/File:Vy_i_skottland.JPG](CC BY-SA 3.0) [http://creativecommons.org/licenses/by-sa/3.0/].

Photo credits (clockwise from top left): Highland Arms cover art; A view of Glencoe, by Ronhjones; Loch Linnhe, by Moralist. Both images via Wikimedia Commons (CC BY-SA 3.0).

What’s your technique for evoking the atmosphere of a place?

For Highland Arms, I was fortunate enough to find booklets by local historians about the era, which allowed me to paint a more realistic picture. This, in combination with a number of visits during different seasons, allowed me to set the scene quite realistically. I did the same for Dark Deceit, which is partly set in Gloucestershire and partly in Normandy. I took hundreds of photos during a holiday in Normandy and kept going back to my travel diary for pointers. I prefer to write about areas I’ve visited. If I can convey my own feelings and impressions, it helps create the atmosphere.

Is landscape the only feature you look at to create a sense of location? What about culture, or even food?

As I write historical adventures, I tend to focus on history and landscape. I found Normandy hugely inspiring for its medieval history and the buildings that have survived from that era. The castles and cathedrals paint a vivid picture of 12th-century life, and I try my best to capture it and convey it into my stories. As you mentioned, I consider myself a hobby historian and have bookshelves full of history tomes, in English and French. It helps that I love the culture.

Can you give a brief example of your work which illustrates place?

Here is a passage from Highland Arms:

Catriona nodded. “Thank you, Mr MacKinnon. I wasn’t looking forward to scaling those peaks.” Her gaze scanned the shimmering surface high up, so glaringly white against the deep blue morning sky. Hidden under layers of cloud the day before, the steep hillsides now presented themselves in all their dangerous glory. Stunned by the beauty yet relieved she did not have to cross them, Catriona smiled as she gazed across crags as sharp as a dagger’s edge.

Relaxing in the stillness of her surroundings, she was surprised at her own reaction. Instead of the misery that held her in its grasp for the last few weeks, a new sense flowed through her.

A feeling of…belonging?

She shook her head in disbelief. What brought this on? The eerie stillness should unnerve her, but instead it calmed and steadied her. Taking a deep breath, she gave her mare a nudge with her heel. Perhaps this journey was going to be good for her after all. No longer banishment, but rather an escape. Perhaps even a fortunate escape.

By the time they reached a small settlement by the shore of Loch Linnhe, the sun had crossed its zenith. Melted snow, and the footfalls of men and horses, turned the ground into a muddy slush. A handful of cottages stood scattered along the path, their walls covered in a thick layer of mud to repel the winds. Smoke swirled through holes in the roofs, filling the air with the smell of peat.

Catriona took a deep breath, enjoying the dusky scent. While she waited for MacKinnon to return from a cottage he’d entered on their arrival, she nudged her mare to the water’s edge to let her drink. Her gaze roamed over the large loch, to the far shore and back to where a narrow arm of water branched off into Loch Leven, disappearing from sight between high peaks behind her. The rugged beauty pulled her in.

How well do you need to know the place before using it as a setting?

Though not always possible, I find it easier to describe a setting once I’ve visited it for long enough to develop a “feel” for the location. For Dark Deceit, I developed an impression of what life was like in that region during medieval times by exploring the abbeys in Caen and Falaise Castle, among other monuments from that era. The book’s hero is originally from a town called Mortagne, in today’s southern Normandy. During our holiday, we drove down to the town and had a wander through it. I took in the surrounding forests (which haven’t changed too much since the 1100s) and ignored the more modern aspects. I try my best to picture the landscapes as they might have been.

Which writers do you admire for the way they use location?

One of my favourite novels is Daphne du Maurier’s Jamaica Inn. The way she describes the desolate landscape, the remoteness of the location, is compelling. You have a real sense of being there. I also enjoy reading MM Kaye’s novels, mostly set in India and Africa. A Third Culture Kid (she was born in Simla and lived all over the world as an adult), Kaye evoked a sense of place that many other authors writing about those areas don’t manage in quite the same way.

Patterson faves

Photo credits: Cover art; insets: Young Daphne du Maurier (about 1930), by The Chichester Partnership via Wikimedia Commons (CC BY-SA 3.0); M.M. Kaye via goodreads.

Thanks so much, Stephanie!

* * *

Readers, any questions for the intrepid Stephanie Patterson? Please leave them in the comments below.

And if you’d like to discover more about Stephanie, why not visit her author site. You can also follow her on twitter at @cathiedunn.

Until next month!

Lorraine Mace writes for children with the Vlad the Inhaler books. As Frances di Plino, she writes crime in the D.I. Paolo Storey series. She is a columnist for both of the UK’s top writing magazines, has founded international writing competitions and runs a writing critique service, mentoring authors on three continents.

STAY TUNED for the next fab post!

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Photo credits (top of page): The World Book (1920), by Eric Fischer via Flickr; “Writing? Yeah.” by Caleb Roenigk via Flickr (both CC BY 2.0).

 

 

LOCATION, LOCUTION: An expat life in Istanbul frees Oliver Tidy to write crime novels set in places he knows well (and Turkey, too!)

Location Locution
Columnist Lorraine Mace, aka Frances di Plino, is back with her second interview guest: fellow crime writer Oliver Tidy.

Hello, readers. My guest this month is Oliver Tidy, who on his author site refers to himself as a “semi-professional fantasist” and an “attention seeking vanity publisher” who is “living in exile.”

He also says he has a “yearning for yarning”—so how much of this is true and how much an exaggeration?

Well, it’s patently true he is a self-published author, currently with nine books available for download through Amazon:

  • four in his Romney and Marsh Files British police procedural series. Newly promoted Detective Sergeant Joy Marsh is shipped out to Dover on the Kent coast to work under Detective Inspector Romney, a cantankerous copper who nevertheless is good at his job…
  • three in his Acer Sansom thriller series. British soldier Acer Sansom resurfaces a year after the world thought he was dead, possessed with a single-minded need for vengeance…
  • two in his Booker & Cash mystery story series. An unlikely detective team, David Booker and Jo Cash, solve mysteries in Romney Marsh, a wetland area in southeast England…

As for the “exile” part, Oliver tells me he left the UK in 2009 looking for change and ended up in Istanbul, where he “got change in spades.”

He is currently working in a Turkish school teaching English as a foreign language to young learners. It’s a job that affords him enough time for writing, something he deeply appreciates:

When I lived in the UK, I tried a couple of times to write, but with the responsibility of property and family and work, and the distractions of television and radio and newspapers and people I never got anywhere with it. One of the many things that I have learned about writing is that you have to sit down and write—often.

Now that he lives in Istanbul, Turkey, Oliver Tidy is able to write stories set in his homeland, the most recent one being He Made Me. Photo credits: (clockwise) Oliver Tidy (supplied) and book cover art; St Thomas Becket, Fairfield, Kent, by Amanda Slater via Flickr (CC BY-SA 2.0).

Living in Istanbul, Turkey, Oliver Tidy has been able to write books set in the place where he was born and bred, the most recent one being He Made Me, which takes place in Romney Marsh, UK. Photo credits: (clockwise) Oliver Tidy (supplied) and book cover art; St Thomas Becket, Fairfield, Kent, by Amanda Slater via Flickr (CC BY-SA 2.0).

As for the vanity publishing, Oliver also confesses he initially tried to get a literary agent because he never wanted to self-publish, believing that self-publishing was tainted with shades of ego-tripping.

“How wrong I was,” he said. “How wonderful and liberating self-publishing truly is. If I had not taken the step to self-publish, my readership would still be limited to my mum and me—and I’m sure that mum skim-reads most of my stuff.”

Judging by the Amazon reviews he receives, his audience extends far beyond his mum—and what his fans seem to love the most about his writing is its “local colour,” “sense of place,” and “wonderful descriptions of settings.”

Let’s find out how he does it, shall we?

* * *

Which comes first, story or location?

Why does this make me think of chickens and eggs? Such a hard opening question. I hope they’re not all going to be like this. I much prefer questions about my favourite things: raindrops on roses and whiskers on kittens, that sort of thing.

Anyway, here goes. As you mentioned in you kind introduction, I write three different series of books: one is set in Dover, Kent—The Romney and Marsh Files; one is set on Romney Marsh—Booker & Cash Stories; and one where, in three books so far, my central protagonist has shot up several different countries on a variety of continents—the Acer Sansom novels. (Acer is a great advert for Brits abroad. Bit of a one-man stag party.)

With the Romney and Marsh Files, story and location had an equal weighting in development. With the Booker and Cash stories it was certainly location first—I am Romney Marsh born and bred. As for the Acer Sansom novels, the first, Dirty Business, involved him visiting Istanbul, a city that I’d been living in for about a year. Acer went from Istanbul to Bodrum, a seaside resort town in Turkey that I’d spent the summer in. That book was definitely heavily influenced by my geographical experiences. The subsequent two books were predominantly plot led.

What’s your technique for evoking the atmosphere of a place?

Tumble weed moment. In six years of writing I’m yet to experience writer’s block…until now. Give me a minute. I’ll come back to this one at the end. (I came back to it at the end and I still couldn’t answer it. Sorry.)

Which particular features create a sense of location? Landscape, culture, food?

These questions are providing an opportunity to really reflect on my writing—something I’m feeling I don’t do enough of.

I don’t write much about what my characters eat. I write a little more than nothing on the cultures of my settings. Physical geography features more than either of the other two in all of my series. As far as my globe-trotting Acer Sansom novels go, after the first book—where I did have experience of the locations involved—I have to say a massive thank you to the Internet, especially Google maps, Google earth, Google street view. Maybe I should just say thanks Google. I’ve also obtained good insight from some travel blogs. Some of those are a wonderful resource for armchair writers.

Can you give a brief example of your work which illustrates place?

I’ll use a short passage from the first Acer Sansom novel. One of my characters has driven from Istanbul to Bodrum.

Oliver Tidy’s first Acer Sansom thriller, Dirty Business, is set partly in Bodrum, Turkey, where he lived for a year. Photo credit: Cover art; The best place to live! by Tuncay Coşkun via Flickr (CC BY 2.0).

Before long the vista opened up before her. As she sometimes had in the years that she had driven to Bodrum, she pulled into a loose gravel pocket at the side of the road and got out of the car.

From her lofty vantage point high up in the hills that embraced the area, she was able to look down at the sprawling panorama of the holiday capital of Turkey. Little enclaves of white boxes, taking advantage of the best geography, were packed so tightly together in places that they might have been one huge solid mass of concrete.

The steep hills that backed these separate little communities demonstrated both the developers’ greed and the sun-seekers’ need for yet more building as newer communities sprang up, patching the arid landscape white like some poorly-designed chess board.

At this time of year Bodrum would be heaving not just with the Turks who could afford to escape the suffocating heat and humidity of the bigger cities but also thousands of holidaymakers of all ages and nationalities.

Once, she thought, the place must have looked like paradise from where she stood—before Man’s concrete assault paradoxically began the ruination of the very environment that made him invest in the area. Would it always be only a matter of time and money before the need to develop areas of outstanding natural beauty outstripped Man’s admiration for them? Thank goodness there were still some idyllic pockets of the area where the authorities had elected to cease development. She felt grateful, if a little hypocritical, that her family owned a villa in one of them.

Her gaze took in the superb sweep of the Aegean, glistening in the early morning light, stretching out towards Greek territory; the differing hues of green and blue combined to create the most inviting scene. She tried to make out details of the ships anchored across the bay but was too far away.

How well do you need to know the place before using it as a setting?

Having lived on Romney Marsh for over forty years has made the two stories—the third is under construction—in my Booker & Cash series much easier in the penning-the-setting stakes. My memories of the place are vivid and unshakeable and I return there for a few weeks each year in the summer which allows me to top them up.

I know Dover fairly well, having spent a lot of time there a few years ago. When I return to the UK I like to jump on the bus from my home on Romney Marsh to Dover for the day just to refresh my memory and see what’s new.

Cover art of Rope Enough, first in police procedural series set in Dover; Dover Castle, by Andrew and Annemarie (CC BY-SA 2.0).

Cover art for Rope Enough, first in Tidy’s “Romney and Marsh File” police procedural series set in Dover; Dover Castle, by Andrew and Annemarie (CC BY-SA 2.0).

As I mentioned, in the first Acer Sansom book I used Istanbul and Bodrum for my exotic locations—two places that I felt I had enough experience of to write convincingly about them. Most of Acer’s locations in the subsequent two books I have never visited. I’m always waiting to be taken to task by readers who have personal and insightful experiences of the places I’ve depicted. What can you do sometimes? You need to write about somewhere you’ve never been. You log on, do some research and then your best.

Which writers do you admire for the way they use location?

CJ Sansom for the way he portrays London in Tudor times; Michael Dibdin and Andrea Camilleri for their descriptions of Italy, and the unbeatable Patrick O’Brian for his depictions of any location, be it land or sea, that he touches upon in any of his Aubrey/Maturin novels. What a writer.

A few of Tidy's favorite authors, who know how to handle "location, locution."

A few of Tidy’s favorite authors, who have demonstrated a mastery of “location, locution.”

Thanks so much, Oliver!

* * *

Readers, any questions for the jolly Oliver Tidy? Please leave them in the comments below.

And if you’d like to discover more about Oliver Tidy, why not pay a visit to his author site. You can also follow him on twitter at @olivertidy.

Until next month!

Lorraine Mace writes for children with the Vlad the Inhaler books. As Frances di Plino, she writes crime in the D.I. Paolo Storey series. She is a columnist for both of the UK’s top writing magazines, has founded international writing competitions and runs a writing critique service, mentoring authors on three continents.

STAY TUNED for the next fab post!

If you enjoyed this post, we invite you to register for The Displaced Dispatch, a round up of weekly posts from The Displaced Nation, with weekly updates and much, much more. Register for The Displaced Dispatch by clicking here!

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Photo credits (top of page): The World Book (1920), by Eric Fischer via Flickr; “Writing? Yeah.” by Caleb Roenigk via Flickr (both CC BY 2.0).

 

LOCATION, LOCUTION: Nik Morton draws from his nomadic expat life to author genre fiction

Location Locution
Columnist Lorraine Mace, aka Frances di Plino, is back with her very first interview guest, the extraordinary Nik Morton. (Nik, thank you for giving the Displaced Nation a shout-out in one of your recent posts!)

Hello, readers. This month we have the delight of discovering how Nik Morton, a British-born resident of Spain who is also a prolific author, handles location, locution.

Although Nik has fifty years of writing experience, having sold hundreds of articles and more than a hundred short stories, he came late to being a published author. His first novel, a western, came out in 2007. This year he will publish his twenty-second book—Catacomb, the second in his Avenging Cat crime series. (The first was Catalyst and the third will be Cataclysm. All are named for the series’ protagonist, the Avenging Catherine Vibrissae.)

In addition to this contemporary crime series, which he publishes with Crooked Cat (there’s that feline theme again!), Nik has written:

  • westerns (Black Horse series, under the pseudonym Ross Morton, published by Robert Hale)
  • fantasy (co-written with Gordon Faulkner under the pseudonym Morton Faulkner, published by Knox Robinson)
  • Cold War thrillers (the Tana Standish series, which Crooked Cat will reissue).

Nik has run writing workshops and chaired writers’ circles, and has been a magazine editor, a publisher’s editor, and even an illustrator. His writing guide, Write a Western in 30 Days: With Plenty of Bullet-Points!, is said to be useful for all genre writers, not only writers of westerns.

Spain, where he currently lives, was the inspiration for the stories collected in Spanish Eye.

Spain is one of several inspiration sources for the well-travelled writer Nik Morton.

Nik was displaced, incidentally, long before he and his wife retired to Alicante. He spent 23 years in the Royal Navy, during which he had the chance to visit many exotic places—among them Rawalpindi, the Khyber Pass, Sri Lanka, Tokyo, Zululand, Mombasa, Bahrain, Tangier, Turkey, Norway, Finland, South Georgia and the Falklands. He has also travelled widely in his private life, giving him a wealth of places to draw on in his works in addition to his current home of Spain.

* * *

Which comes first, story or location?

This is a tough question, and the answer is ‘it depends’. For my seven western novels, the character and the story came first; the location for each required research for the period and the State, usually Dakota Territory.

Yet location definitely comes first for my Cold War thrillers featuring psychic spy Tana Standish: The Prague Papers, The Tehran Text and the third, a work in progress, The Khyber Chronicle. Each adventure in the series is based around actual historic events, so the location is crucial.

I’ve always hankered after writing about exotic places, and as you mentioned in your introduction, I’ve been fortunate enough to travel widely, both privately and with the Royal Navy. My wife and I lived for 20 months in Malta and out of that location emerged a cross-genre novel, a modern-day vampire romantic thriller, now out of print.

We’ve visited Tenerife on five separate occasions and from that evolved my romantic thriller, Blood of the Dragon Trees.

Having lived in Spain for over 11 years, I’ve absorbed quite a bit about the politics and crime situation here and have had 22 short stories published set in Spain, collected in Spanish Eye—exploring the human condition as seen through the eyes of Leon Cazador, half-English, half-Spanish private eye, written ‘in his own words’.

For my latest crime series about ‘the avenging cat’, Catherine Vibrissae, the story definitely came first: but the exotic locations were a close second—Barcelona (Catalyst), Morocco (Catacomb) and Shanghai (Cataclysm).

What’s your technique for evoking the atmosphere of a place?

Place is important in almost every scene; I want the reader to see the characters in the scene, so the place needs to be described in relation to them. Character point of view can provide an emotional appreciation of the scene too. The rugged, inhospitable High Atlas of Morocco, for example, can be strengthened by the character experiencing the intense heat and the almost preternatural silence of the place.

Technique: be there, in the scene. Of course you can’t overburden the story with too much description, but the weather, the flora and maybe even fauna, the landscape as character, all have their input at various times. If I can’t visualise the scene through my characters’ eyes, then there’s little chance that the reader will. I may not always succeed, but that’s what I strive towards—using all of the character’s senses.

Which particular features create a sense of location? Landscape, culture, food?

All of the above, depending on the dramatic content of the scene. People have to eat to live, so it’s natural that my characters eat from time to time. I don’t want to labour the point for the reader, but if I simply wrote ‘Corbin ate a meal at the hotel and then went out,’ then we’re in the realms of ‘tell’ not ‘show’; which has its place from time to time, but perhaps mentioning some particular food can make it more ‘real’ and show more of the character, such as:

Stomach full with Chili de Sangre Anaranjada, Corbin read the local newspaper in the hotel lounge, allowing the beef and pork to digest. He had complimented the chef, a Swede by the moniker of Iwan Morelius. Apparently, Morelius had been on the staff of Baron Ernst Mattais Peter von Vegesack, who had been given leave to fight for the Union. While the baron returned to Sweden after the war, Morelius stayed and Mr Canaan, the hotel manager, was vociferously proud of his culinary acquisition.

—From The $300 Man, by Ross Morton (p. 84)

Culture is definitely relevant if the story takes place abroad—whether that’s Prague or Shanghai. And we’ve already touched upon landscape, which can become a character that tests individuals to the limit.

Can you give a brief example of your work which illustrates place?

This cafe in Tenerife will soon be populated by characters from Nik Morton's imagination. Photo credit: Tenerife, Canary Islands, by Carrie Finley-Bajak[https://www.flickr.com/photos/cruisebuzz/8158748971] via Flickr (CC BY 2.0)

This cafe in Tenerife will soon be populated by characters from Nik Morton’s imagination. Photo credit: Tenerife, Canary Islands, by Carrie Finley-Bajak via Flickr (CC BY 2.0)

In Blood of the Dragon Trees, Laura has come to Tenerife to teach a couple of Spanish children. I wanted to create an ambiance while moving her through the story. She is waiting for Andrew Kirby, a mystery man who attracts her:

Clutching her Corte Inglés shopping bag, Laura arrived at the square about fifteen minutes early and, as usual, the adjoining roads were jammed with delivery trucks and a variety of taxis: Mercedes, Toyota, Seat, Peugeot. She was lucky and grabbed a café’s outdoor table with two vacant chairs. She sat and politely fended off the attentive waiter, explaining in Spanish that she would order when her friend joined her. Friend?

In the meantime, she waited, idly studying the antics of the men at the taxi rank in front of a series of phone booths. One of them was pushing his car along the rank, rather than switch on the engine, as the row moved forward. The taxis sported a colorful and distinctive coat of arms.

Sitting on the corner of the street was a blind man selling lottery tickets. She doubted if that would be possible in any town or city in England; the poor man would be mugged in seconds.
Most of the people at the other tables appeared to be businessmen and women, though there were some exceptions. An overdressed elderly woman sat with her Pekinese dog on her lap, feeding it biscuits while sipping her Tío Pepe. At the table next to her, a large bull of a man was glancing through the newspaper, El Día; he possessed a Neanderthal jaw and crewcut dark brown hair. For a second she thought she’d seen him before, but shook off the idea. Andrew Kirby was making her unreasonably suspicious!

—from Blood of the Dragon Trees, by Nik Morton (p. 116)

So, besides the observation of little details going on around her—and the suspenseful hint for the reader that we’ve seen the man with the Neanderthal jaw before—there’s the compelling influence that Andrew is exerting on her.

How well do you need to know the place before using it as a setting?

Ideally, travel to the place. But even then additional back-up research is necessary. Of course you can’t hope to travel to every exotic place you write about. I’ve been to many of the places in my novels and short stories, but not all—and I must then concentrate on research.

Sadly, non-fiction reference books can quickly become out-of-date—bus colours might change, customs may once have been quaint only to be replaced by adopted globalised traits. (Yes, it has happened to me!)

Any piece of fiction set in the past requires research; yes, you can travel the battlefields, visit the ancient cities; but you can’t experience that time, only imagine it.

Official map of the territory of Dakota[https://www.flickr.com/photos/normanbleventhalmapcenter/14009763855/], by http://maps.bpl.org via Flickr (CC BY 2.0) [https://creativecommons.org/licenses/by/2.0/]

Some places can’t be visited, only researched. Official map of the territory of Dakota, by http://maps.bpl.org via Flickr (CC BY 2.0).

Fiction requires a writer to be bold, to do research and then re-imagine the place, with its sights, smells and sounds. The bottom line is, it’s fiction, which means an approximation of the real world. If a critic blithely dismisses writers who make a few errors in their research because they haven’t travelled there, then that critic is misguided.

Which writers do you admire for the way they use location?

Some books could be set anywhere; location is not significant to the story. Others, the location is vital to the story. The old practitioners Desmond Bagley, Hammond Innes, Nevil Shute, and Alistair Maclean described the location their main characters found themselves in, and you believed every word. Bernard Cornwell’s Sharpe novels thrust you into a period and a place that seems real while you’re reading. Donna Leon’s Italy is real.

A few of the writers Nik Morton admires for their depiction of place in their novels.

A few of the novelists Nik Morton admires for their skill with depicting location.

Thanks so much, Nik!

* * *

Readers, any questions for my first guest? Please leave them in the comments below.

And if you’d like to discover more about Nik, why not pay a visit to his author site; his blog, called Writealot (no exaggeration in his case); and the archives of Auguries, a science fiction, fantasy and horror magazine Nik edited from 1983 to 1994. You can also follow Nik on twitter at @nik_morton.

Until next month!

Lorraine Mace writes for children with the Vlad the Inhaler books. As Frances di Plino, she writes crime in the D.I. Paolo Storey series. She is a columnist for both of the UK’s top writing magazines, has founded international writing competitions and runs a writing critique service, mentoring authors on three continents.

STAY TUNED for the next fab post!

If you enjoyed this post, we invite you to register for The Displaced Dispatch, a round up of weekly posts from The Displaced Nation, with weekly updates and much, much more. Register for The Displaced Dispatch by clicking here!

Related posts:

Photo credits (top of page): The World Book (1920), by Eric Fischer via Flickr; “Writing? Yeah.” by Caleb Roenigk via Flickr (both CC BY 2.0).

LOCATION, LOCUTION: Expat author and new columnist Lorraine Mace offers her own thoughts on writing about place

Location Locution
Please join us in welcoming Lorraine Mace, aka Frances di Plino, to the Displaced Nation for the first time. From this month, she’ll be taking over the Location, Locution column from JJ Marsh.

Hello, Displaced Nationers! I am thrilled to be taking over this column from JJ Marsh, and I already have lots of interesting guests lined up to take part over the coming months. For this first post, however, I am going to follow in Jill’s footsteps and use my first column to answer the “location locution” questions as a means of introducing myself.

But before I do that, let me give you a few basics. I was born and raised in London, but moved to South Africa just before my 25th birthday. I first lived just outside Johannesburg, then moved to the Orange Free State before discovering, and falling in love with, “the fairest cape”. Since leaving Cape Town I’ve been a nomad for more years than I care to count, having moved continent and country nine times. I finally put down roots in Spain, but have an inclination to spend summers in British Columbia, Canada.

Like JJ, I write crime fiction. I also have a book series for children.

Lorraine May and books

The prolific Lorraine Mace has produced four books in her D.I. Paolo Storey crime thriller series, and one book in her Vlad the Inhaler series (vampires, werewolves and peaches, oh my!).

Oh, and one last item before I move to the questions: don’t forget to visit my predecessor’s farewell post and enter the book giveaway competition. So far there’s only two comments, which by my reckoning gives you a pretty good chance at winning seven great e-books!

* * *

Which came first, story or location?

This can vary from book to book and story to story. However, in my crime novels, written as Frances di Plino, story came first—but then location helps to formulate the plots. Although the series is set in a fictional town, the surrounding British countryside is very real. Bradchester is situated close to Rutland Water and the nearest city is Leicester, both of which feature in the novels on a regular basis. I know this area well. During my last (brief) sojourn in England I lived in a small village a stone’s throw from Rutland Water and frequently visited Leicester.

What’s your technique for evoking the atmosphere of a place?

I put myself into the heads of my characters and experience the place through their senses. When I can smell the bread in the local bakery, or hear the cries of street vendors, weep over a beautiful sunset, taste an orange straight from the tree, or touch the moss-covered stones of a monastery, I know it’s time to start writing, using my character’s experiences of the place.

Which particular features create a sense of location? Landscape, culture, food?

All three, but I must admit I find it easier to use food allied to culture when the story is set outside of the British Isles. Having lived in South Africa, on the Maltese island of Gozo, as well as in France and Spain, I know I can use regional dishes to bring areas of those countries to life. But in Britain I think we have lost the regional aspect of many of our foods. Fish and chips, roast beef and so on are now available throughout the country, where other nations seem to have guarded their regional food identities.

Can you give a brief example of your work which illustrates place?

Bradchester is a town that has more than its fair share of rundown, seedy areas set side by side with gentrified neighbourhoods. This leads to a great deal of social unrest—the haves want the have-nots moved elsewhere and the have-nots resent the wealth and easy life of the haves. This short passage illustrates an area that has, as yet, remained untouched by either sector, but just a street away it is very different.

Station Road wasn’t exactly the best part of town, but the place looked respectable. Paolo was pleased to see that most of the businesses he remembered from his youth were thriving. This was one of the few communities that still had a drycleaners, newsagent, old-fashioned fruit and veg shop, alongside a mini-supermarket, hairdressers and a bank. He glanced up. Even the flats above the businesses looked lived in and cared for. Nice nets and curtains framed the windows and many of the street doors had been painted in recent history.

They walked a couple of hundred yards before turning into Zephyr Road. It was like moving into another country. Here, most of the shops they passed were boarded up and the few remaining open for business seemed to Paolo to concentrate on ways to transform goods into money. Pawnbrokers, gold for cash, payday cheque converters. It appeared as though all the dregs of the financial service industry had found their way into this street. This time when he glanced up, Paolo saw the flats above the shops were likewise either boarded up or had dirty nets hiding whatever was going on up there.

net curtains

The quality of the net curtains tells you where you are in Bradchester. Photo credit: Joss Smithson via Flickr (CC BY-SA 2.0).

How well do you need to know the place before using it as a setting?

I prefer to use places I’ve lived in, or visited many times. I like to know the area and people so well I can conjure them up at will when I’m writing.

Which writers do you admire for the way they use location?

Barbara Kingsolver and Donna Tartt spring to mind. With both authors I feel as if I am living in the locations depicted. In Donna Tartt’s The Goldfinch she manages to recreate both city and desert locations to the extent one can almost feel the weather. Kingsolver’s The Poisonwood Bible brings the 1959 Belgian Congo to life so powerfully the reader is swept into the villages, fearful alike of jungle creatures and the inhospitable landscape.

Books that get "place" right: The Goldfinch, by Donna Tartt; and The Poisonwood Bible, by Barbara Kingsolver.

Books that get “place” right: The Goldfinch, by Donna Tartt; and The Poisonwood Bible, by Barbara Kingsolver.

* * *

Thanks so much, Lorraine! I’m impressed that you created your own place for your crime series novels, and that it’s in the UK, where you haven’t lived for quite some time. Readers, any words of welcome and/or questions for our new columnist? Please leave them in the comments below.

And don’t forget to leave a comment on her predecessor, JJ Marsh’s last post for a chance to win 7 e-books that should take you through the summer. All you have to do is answer the question, in 50 words or less: Where and when in the world would you like to go, and why?

Lorraine Mace writes for children with the Vlad the Inhaler books. As Frances di Plino, she writes crime in the D.I. Paolo Storey series. She is a columnist for both of the UK’s top writing magazines, has founded international writing competitions and runs a writing critique service, mentoring authors on three continents.

STAY TUNED for the next fab post!

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Photo credits (top of page): The World Book (1920), by Eric Fischer via Flickr; “Writing? Yeah.” by Caleb Roenigk via Flickr (both CC BY 2.0).

LOCATION, LOCUTION: Columnist JJ Marsh bids farewell with generous book giveaway

JJ Marsh hands over the Location Locution reins to Lorraine Mace, who will start next month.

JJ Marsh hands over the Location Locution reins to Lorraine Mace, who will start next month.

JJ Marsh first graced the shores of the Displaced Nation two years ago. Growing up a Third Culture Kid in Africa and the Middle East, and now an expat in Switzerland, she was an immediate fit. For two years we have benefited from her love of language and place, and now, as she takes her leave from this column (though not from the Displaced Nation), she does something that makes us love her even more: hand picks a successor and offers a chance to win a set of SEVEN books from Triskele, the acclaimed writers’ collective she helped to found. Thank you, JJ!

—ML Awanohara

Two years after joining Displaced Nation with the Location, Locution column, it’s time for me to say goodbye.

It’s been a terrific experience and I’ve learnt so much from my interviewees, not to mention discovering wonderful books and unexplored places. Heartfelt thanks to ML Awanohara and the Displaced Nation team for taking a risk on me.

I’m going to hand over to a fresh face, with her own unique flair. From June, Location, Locution will be in the expert hands of inveterate creative and nomad, Lorraine Mace. I asked Lorraine to introduce herself to you next month by providing her own answers to the Location, Locution questions.

Finally, I’d like to leave you with a goodbye present. As international creatives, I know you enjoy exploring books that make a feature of place.

My colleagues and I at Triskele Books have created a box set of books to transport you across time and place, from 3rd century Syria to futuristic Wales. A Time & A Place contains seven award-winning novels that have in common the theme of this column: location, locution.

Come on a journey.
We’ll take you to another place.
And tell you a story.

And as my farewell gift to Displaced Nation readers, I have one free copy (ebook only) to give away. You can win by adding a comment in the box below. In no more than 50 words, where and when in the world would you like to go, and why?

JJ Marsh's farewell giveaway

JJ Marsh’s farewell giveaway

The winner will be announced in next month’s Location, Locution.

* * *

Where would you like to be taken?

1) Modern-day Anglesey on the trail of a psychopath
Crimson Shore, by Gillian Hamer (Contemporary crime)
“Hamer does for Anglesey what Rankin does to Edinburgh, what Dexter did to Oxford”

2) Post-apocalyptic Wales, surviving with a rat pack
Rats, by JW Hicks (YA)
“An absolute treat for fans of SF, dystopian, and YA novels, but I would recommend it to anyone who loves a great story brilliantly told.”

3) Contemporary Zurich, where everyone has a secret
Behind Closed Doors, by JJ Marsh (European crime)
“Warning: once you start this book you may not be able to put it down, and you may find yourself talking to it.”

4) WWII France to resist occupation and fall in love
Wolfsangel, by Liza Perrat (Historical fiction)
“Fascinating, forceful and extremely well researched… will thrill historical fiction fans.”

5) Ancient Palmyra to fight alongside a warrior queen
The Rise of Zenobia, by JD Smith (Historical fiction)
“Packed to the hilt with tension and adventure, it kept me spellbound.”

6) Charleville, France, and the poetic voyage of a manuscript
Delirium – The Rimbaud Delusion, by Barbara Scott-Emmett (Literary fiction)
“Beautifully plotted and written, this absorbing, enchanting novel is one of the best books I have read this year.”

7) Coventry – a 1980s crucible of racial tensions
Ghost Town, by Catriona Troth (Literary fiction)
“Unique and brilliant… not just a compelling read, but also a learning experience.”

JJ Marsh and her  fellow Triskelites.

JJ Marsh and her fellow Triskelites.

Can’t wait to get the set? It’s available for a limited period at the special offer price of $9.99/£7.99. Don’t miss this box of delights. Who knows what you’ll discover?

Or, to reiterate, you can try your luck at winning a FREE copy (ebook only) by adding a comment in the box below:

In no more than 50 words, where and when in the world would you like to go, and why?

Goodbye, thank you for reading the column and I wish you all excellent journeys.

Jill

* * *

Happy trails to you as well, Jill! I noticed you said in a recent interview: “My definition of literary genius is writing about places you want to visit.” May that become the Displaced Nation’s new mantra! Readers and JJ fans, let’s all bid JJ a fond farewell by answering the question: In no more than 50 words, where and when in the world would you like to go, and why? (Seven books, wow! That’s your summer reading…)

JJ Marsh grew up in Wales, Africa and the Middle East, where her curiosity for culture took root and triggered an urge to write. After living in Hong Kong, Nigeria, Dubai, Portugal and France, JJ finally settled in Switzerland, where she has been writing a European crime series set in compelling locations all over the continent and featuring detective inspector Beatrice Stubbs. She recently produced the fourth book in the series: Cold Pressed, which takes place on a luxury cruise bound for Santorini.

STAY TUNED for the next fab post!

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LOCATION, LOCUTION: Canadian writer Lee Strauss uses busy, multicultural Dresden as setting for romance

Location Locution_LeeStrauss

LOCATION, LOCUTION: JJ Marsh (left) talks to author Lee Strauss about the craft of setting contemporary romance novels in foreign locations.

In “Location, Locution” expat crime series writer JJ Marsh chats with fellow displaced fiction writers about their methods of portraying place in their works. Her guest today is contemporary romance and speculative fiction writer Lee Strauss. Born near Chicago to Canadian parents, Lee might have grown up a California girl had it not been for Vietnam, which caused her parents to retreat back to Canada. At age 22, she married Norm Strauss, a Canadian folk rock musician—and signed up for a life of adventure. They have traveled extensively overseas and live part-time in Germany.

—ML Awanohara

Lee Strauss is the author of the Minstrel Series, a collection of contemporary romance novels set in the singer/songwriter world, taking place in Germany and England; the Perception Series, a trilogy of young adult dystopian novels; and several works of YA historical fiction. Under the alter ego of Elle Strauss, she writes fanciful younger adult stories about time travel, mermaids and fairies.

Lee is the married mother of four grown children, three boys and a girl. Because of her husband’s job as an indie folk musician, she has traveled to twelve European countries, Mexico, fourteen states, and six Canadian provinces. Currently, the couple divide its time between Kelowna, a town in British Columbia’s temperate Okanangan Valley, and Dresden, Germany. When not writing or reading Lee likes to cycle, hike and do yoga. She enjoys travel (but not jet lag :0), soy lattes, red wine and dark chocolate.

Now let’s talk to Lee about how she has woven European settings into several of her books.

* * *

Which came first, story or location?

It was a simultaneous decision. My singer-songwriter husband and I spent some time brainstorming on how we could merge our two worlds, indie publishing collaborating with indie music artists, and the idea for the Minstrel Series was born. (Each of the books has accompanying music.) The first two books, Sun & Moon and Flesh & Bone, are song titles of music used in the books. We live part of the year in Dresden, Germany, and I just knew that the books had to be set there, right in our neighbourhood.

Minstrel Series Set in Dresden

Cover art from first two books of the Minstrel Series; (middle) view of Dresden’s historical center, from the same spot where Canaletto made his famous painting.

I’ve also written a WW2 historical novel called Playing with Matches, about a group of boys growing up in Hitler Youth. The story takes place in Passau and Nuremberg. Traveling to both cities made a huge difference in getting the setting and ambiance right.

Playing with Matches Collage

Clockwise, left to right: Cover art; Nuremberg citiscape; view of Veste Oberhaus, a 13th-century fortress in Paussau, in lower Bavaria, Germany.

What’s your technique for evoking the atmosphere of a place?

Nothing like living in the middle of it! The street and building in Dresden where we lived are featured in great detail in Sun & Moon and Flesh & Bone. Many readers comment on how they feel like they visited Germany while reading my books.

Which particular features create a sense of location? Landscape, culture, food?

All three. I share a lot of Dresden images on Tumblr, including not just landscape but also food and the local culture.

Can you give a brief example of your work which illustrates place?

Here’s a passage from the Minstrel Series, describing a scene in Dresden:

Katja stood in one of the cutaways on the old stone bridge over the River Elbe that joined the Altstadt with the Neustadt, the old city with the new.

She shivered despite her winter jacket and the scarf wrapped around her neck and strummed her guitar with fingerless gloves. The limestone dome of the Frauenkirche—the Church of our Lady—peaked out over the city’s ancient, baroque skyline. Like all the buildings in the historic center, it had been completely demolished during the Second World War. The entire city was rebuilt to look much like it had before it was destroyed. In essence, the old town was now the new one, and the new town the old one.

It was majestic and awe-inspiring to look upon.

Most days.

Katja’s guitar case lay open at her feet. She’d thrown in the few cents she’d found under the sofa cushions, hoping to lure other donations.

The cold wind kept people hunched over and moving at a fast pace across the bridge, most with chins tucked down and hands shoved into deep pockets. No one took the time to stop and listen, much less drop money in her case.

How well do you need to know the place before using it as a setting?

Spending time living there is the absolute best way. There’s so much you see and learn about a place over time. The second best is to visit in person. After that, talking to people who have lived or visited there along with research and Google Earth.

Which writers do you admire for the way they use location?

Maeve Binchy has a wonderful way of pulling the reader deep into Ireland. (My next book in The Minstrel Series will be set in Ireland and Boston, where I’ve lived.) Susan Grafton does the same for Southern California with her Alphabet Mystery series, set in the fictional city of Santa Teresa, based on Santa Barbara.

* * *

Readers, if this interview has piqued your curiosity about Lee Strauss and her creative array of fiction works, we encourage you to visit her author site.

JJ Marsh grew up in Wales, Africa and the Middle East, where her curiosity for culture took root and triggered an urge to write. After living in Hong Kong, Nigeria, Dubai, Portugal and France, JJ finally settled in Switzerland, where she is currently halfway through her European crime series, set in compelling locations all over the continent and featuring detective inspector Beatrice Stubbs.

STAY TUNED for the next fab post!

If you enjoyed this post, we invite you to register for The Displaced Dispatch, a round up of weekly posts from The Displaced Nation, with weekly updates and much, much more. Register for The Displaced Dispatch by clicking here!

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LOCATION, LOCUTION: British expat author Carl Plummer turns his gaze upon his adopted home of China

Columnist JJ Marsh (left) talks to Carl Plummer,

Columnist JJ Marsh (left) talks to Carl Plummer, a writer of historical adventure fiction.

We welcome JJ Marsh back to the Displaced Nation for this month’s “Location, Locution.” If you are new to the site, JJ, who is a crime series writer, chats with fellow fiction writers about their methods for portraying place in their works. Her guest today is Carl Plummer, who writes World War II adventure spoofs under the pen name of Robert E. Towsie. Born in Hull, England, he lived in Cyprus, Paris and Libya before moving to his current home of China, where he works as a university lecturer. Today he does something unusual for this column: describes the place where he’s living right now.

—ML Awanohara

JJ MARSH: Once in a while, Location, Locution likes to surprise you. Remember the Paulo Coelho piece on monuments that immortalise cities? If not, go read it now. Is it any surprise this man is an international bestseller?

This month, I tracked down an author I’ve admired for a long time. Carl Plummer writes as Robert E. Towsie, in a classic comic style, setting his capers around Europe against the backdrop of its dramatic history.

But what interested me about Carl/Robert is where this expat creative lives. China. A place I find fascinating, mysterious and sometimes a little scary. So this month’s Location, Locution is his take on China, its people and and how he sees it. Enjoy.

* * *

CARL PLUMMER: In 2004, after a stint in Libya, I arrived in China and started a job at Nanyang Normal University to teach British and American literature. The city of Nanyang (pop. 1,000,000) in Henan Province was proud to boast ten lao wai, foreigners.

Every minute, on every street, in every shop, I was reminded I was a foreigner. Some reminders were harsh, nationalistic and racist with the “go back where you came from” we associate with racism in England.

Other reminders were through curiosity, the wish to speak English to and even touch a foreigner, the assumption all foreigners are American and a sense of me being something exotic, something new and different, and most of all—rich.

I wasn’t rich, am not rich. Teachers are the poorest working travellers of the world. We are the intellectual navvies from the western world. We are not businessmen with expense accounts; we are not oil people or wheeler and dealers. But we are approachable because we have to mingle, use the buses and the metros, and the trains. We do not have company cars with around-the-clock company drivers.

During the rainy season in a small coal-mining town near Pingdingshan the streets would run black when it poured and families would come out to shower beneath the torrents thundering off awnings.

What made me rich to such people? I had an apartment with a shower and I could afford the water it used—I didn’t have to wait for the rain.

In China, the iron rice bowl has long gone.

Why am I talking about money instead of garnishing the text with tales of magnificent walls, gaudy ancient temples or food conjured up with every living creature imaginable? Well, that’s all been done before.

I’m talking of money because poverty is not romantic; it never has been and it never will be. It is cruel and it doesn’t discriminate; there are no deserving and no undeserving poor.

That cradle-to-the-grave surety of Communism is a generation ago, but that generation brought up in it is still around. It is my age, brought up in the 60s and 70s, taught to root out the treacherous intellectual bourgeoisie, taught to spy on parents and teachers, taught to love the state above all else.

It worked in theory for a while because the state cared; it looked after your every need as long as your toed the line, as long as you never asked questions. Now it doesn’t. Now there is no line to toe.

The young are asking questions. That is their hope.

I meet many young people, in their 20s, who have something hanging around their necks; cultural and domestic demands, greatly exacerbated by the growth of capitalism and the cracking of the iron rice bowl.

Education is expensive in China, as is being healthy. Young people have shown me lists, lists almost like invoices saying: we spent this much on your upbringing and this is what you must pay back to us. It is easy to get the sense parents have children for one reason: someone to take care of them in their old age. Babies, especially boys, are glorified little emperors, smothered and mothered—especially grandmothered—to the extreme; but once in their teens they are seen as future life-support systems.

Rich CEOs and husbands framed

Haozhi Chen (CEO of Chinese mobile powerhouse Chukong), by Jon Jordan via Flickr; “Wedding couple in the clan house,” by shankar s. via Flickr. Both photos are licensed under Creative Commons (CC BY 2.0).

Boys are expected to become CEOs and girls are expected to find rich husbands. All are expected to become members of extended families because extended families are safer, more secure. Individualism and independence is dangerous.

The average salary in China is still about 2000 yuan a month (about 200GBP) for a ten-hour-day and a six-day week. Millions of workers live in dormitories more akin to barracks, and send home half their salaries to support families back home. Young people must pay back the money they owe their parents. This is how it is for the majority of young people in China. The majority has to save because everyone has to pay.

When the future is precarious you have to save.

When I lived in the Bai Yun district of Guangzhou (Guangdong province, in Southern China), I used to cycle through a huge housing estate (apartments by the thousand) and cut through the grounds of Jinxi Nanfang Hospital.

Those middle-class apartments sell for about 3,000,000 yuan each, rented out for between 3,000 and 4,000 a month.

From the higher balconies you can see the rows of beggars in the streets around the hospital. These are not the beggars we expect—those in shop doorways with mangy dogs for company.

These beggars are lying in makeshift hospital beds, out in the open, with drips hanging from stands. These beggars are families trying to get the 500 yuan a night needed for hospital treatment, or even the 100 yuan just to see a doctor.

Dontspend$$youdonthave

Lesson for all SL-ers, by Laurence Simon via Flickr (CC BY 2.0).

This is why so many Chinese people are savers, not spenders.

And those apartments—the richer you are, the higher up you live. The higher up you are, the farther you can see across the hospital surrounds where the aged and sick lie in the shadows of a hospital they cannot afford to enter. It is a world where education and health is a luxury, not a right.

For the growing middle-class it is different; for the Chinese aristocracy—very different. There is a Chinese aristocracy; it’s the cushioned group of party members—the 5 percent. (Google “My father is Li Gang”* if you wish to know how that works.)

The growing middle classes do not live with the fearful uncertainties of old age. They do not fear the need to see a doctor or the need to stay in hospital for a few days. They can send their children to good schools; send them to the UK, the USA or Australia to continue with their studies. They can send their children out into the world to be whatever they wish to be—something so many westerners take for granted. They do not need their offspring to look after them in old age. They can be spenders and savers.

I’d rather cry in the back of a BMW than laugh on the back of a bicycle.

"Cargirl," by Xuan Zheng via Flickr (CC BY-SA 2.0); (bottom) "Shanghai cyclists," by Gwydion M. Williams via Flickr (CC BY 2.0).

“Cargirl,” by Xuan Zheng via Flickr (CC BY-SA 2.0); “Shanghai cyclists,” by Gwydion M. Williams via Flickr (CC BY 2.0).

How about the girl who said on a TV show “I’d rather cry in the back of a BMW than laugh on the back of a bicycle”?

Yes, she was condemned and ridiculed, but she does not have the luxury of choice, the luxury of hope; the safety net is not yet there for her.

I believe and hope it will be for her children. Already, there are newly middle class young people who not have to choose between the BMW and the bicycle. Educated women are buying their own BMWs, their own apartments. They do not have to get married as soon as possible in order to be secure.

And more importantly, their individualism and prosperity is running alongside a new sense of social justice, political justice, and an awareness of the needs of others.

Religion, philosophy, or just simple humanism, whatever it is—the humanity is breaking through.

Twenty years ago, capitalism was raw in China; it was Darwinian and brutal, but it is slowly coming around, perhaps in the way it eventually did so in Britain until it was scuppered by the bankers who played with money as though it was Monopoly money.

We started with the Bounderby style of capitalism where Britain was the richest country in the world, populated by the poorest masses.

That is where China has been, perhaps still is, but it is moving through that. Communism denuded the soul, evicted compassion and turned the people into soldier ants. Capitalism came along to lift people out of poverty, but it did not fill the spiritual vacuum—the vacuum of feeling and compassion.

Christianity is becoming ever more popular in China. Confucianism is being taught again. The vacuum is being filled. The younger capitalist—who is not from the spoilt 5 percent—has a sense of social responsibility, the idea of giving back.

Mr Cameron’s “long-term plan” is but a sparrow’s sneeze in Chinese terms.

It’s a long process, but China has a long history and has always been about long processes.

The hope is, and I am confident about it, is the young; they have enough to eat, will have roofs over their heads, but more importantly, they can afford to be more thoughtful, more caring—they can afford humanity. Breaking free from poverty allows kindness to flourish (kindness in individuals and kindness from the state) if it is not smothered by the unacceptable face of capitalism or the dehumanization of totalitarianism.

I believe it will get there. But we cannot think in European terms; European terms are far too short. And remember why you can afford your cheap TV, cheap mobile phone and cheap computer; it is funded by cheap labour.

There are still millions and millions with a standard of living we would find totally unacceptable; but the fear of starvation has gone and the idea of a health service free at the point of use is slowly becoming more than just a dream. For most young people, going to university is still a dream.

It is changing. The young people are making it change.

* * *

Readers, if this interview has piqued your curiosity about Carl Plummer and his Robert E. Towsie books, we encourage you to visit his author site.

JJ Marsh grew up in Wales, Africa and the Middle East, where her curiosity for culture took root and triggered an urge to write. After living in Hong Kong, Nigeria, Dubai, Portugal and France, JJ finally settled in Switzerland, where she is currently halfway through her European crime series, set in compelling locations all over the continent and featuring detective inspector Beatrice Stubbs.

STAY TUNED for next week’s fab posts!

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LOCATION, LOCUTION: Kiwi-Brit author team produce first in eco-thriller series spanning continents where they’ve lived

JJ LN Collage

Columnist JJ Marsh (left) talks to Lambert Nagle, Kiwi/Brit co-writers of international thrillers.

Today we welcome JJ Marsh back to the Displaced Nation for this month’s “Location, Locution.” If you are new to the site, JJ, who is a crime series writer (see her bio below), talks to fellow fiction writers about their methods for portraying place in their works. We’re excited that her guest today is the better half of a husband-wife team who have composed an eco-thriller that takes place all over the world, including places where they’ve been expats.

—ML Awanohara

Lambert Nagle is the pen name of co-authors Alison Ripley Cubitt and Sean Cubitt. They write thrillers set in sunny climes.

Sean’s day job is Professor of Film and Television, Goldsmiths, University of London. He has been published by leading academic publishers.

Alison worked in TV and film production for companies including the BBC and Walt Disney but her passion has always been for writing. She is an author, screenwriter and novelist.

Serial expats, Lambert Nagle have lived in Malaysia, Canada, New Zealand, Australia and are now based in leafy Hampshire.

Now let’s find out how they perceived the connection between location and locution for their debut novel, Revolution Earth. (Alison is answering for the pair.)

* * *

Which comes first, story or location?

We knew that Revolution Earth had to have a circular structure as one of the themes is that an event in one part of the world will have an impact in another. We needed a major global city for the inciting incident as well as the conclusion and we chose the one we know best—London. Sean was once a bicycle courier and he knew what it was like to have to dodge potholes and taxis in Soho and still get the delivery there on time.

We wrote the New Zealand section after we’d reluctantly left my native land and moved to Melbourne. It was a bit of a love letter to a place we adored but needed to leave in order to pursue professional opportunities abroad. In southeast Australia we were thrilled to find that there was an oil refinery—identical to one we had driven past in Cheshire years ago, which inspired the story.

What’s your technique for evoking the atmosphere of a place?

For the Antarctica portion of the story, Sean had spent four years in Canada as a post-graduate student. The memory of cold is something that never leaves you, so we drew on that, starting from the physical experience and expanding out into the visual side of things.

Photo credits (clockwise from top left): Kakadu in the Australian outback, by Muireann Ní Cheallacháin via Flickr; book cover with photo of Snowy Mountain region of New South Wales, Australia, taken by Alison Ripley Cubitt; lady bicyclist in London, by Danica via Flickr; Alberta, Canada, by davebloggs007 via Flickr (all Flickr photos CC BY 2.0).

How well do you need to know the place before using it as a setting?

Revolution Earth was originally a screenplay. As a screenwriter you have to know a place extremely well before you’d dare use it as a setting. Film is a literal medium and your job is to give very clear instructions about an actual place—as a camera has to be able to film the location exactly as you’ve described it. So we went to extremes: including a trip to a uranium mine in the Outback, thousands of miles from where we lived in Australia.

Eventually we realised we needed to write a novel first, before we could interest film-makers. But by then, we knew we couldn’t get to every location and would have to inhabit some places purely through imagination. The important thing is that the imagined places have to be just as detailed, just as carefully tuned to the physical experience of being there, as the real ones. Something really familiar like a dusty, disorganised office in a backstreet in the East End of London should be as deeply felt as battling a storm in a leaky boat in the Southern Ocean encircling Antarctica. As someone who goes green at the mention of the phrase “rough seas,” this is where the imagination comes in as well.

The liberation of cresting the top of a hill on a bicycle before swooping down towards the valley is the same everywhere, but knowing the twists of the road, the steepness of it, how it burns up your lungs before filling them with joy, is all the richer if you can take your reader into what is special about this road, this time of year, for this character.

Which particular features create a sense of location: landscape, culture, food?

Whether it’s real or imagined, a place comes as a feeling first. Then you identify the elements of that feeling: what can you hear, smell, see, taste. How do people talk? Hot, cold, windy or still? What plants and animals, how personal or impersonal, what sense of the past, ancient or recent, does it communicate and what are the things that carry that sense—things like the absence of birdsong or the sound of a kettle boiling. Sometimes you reach out to the reader to share an experience, but sometimes you have to lead them into an experience they have never had, and then it’s often the emotion of the characters and scene that drive the description rather than its physical elements.

Can you give an example from Revolution Earth that illustrates place?

Great mountains of blue-white floating in a sea caught between the colour of the sky and the fresh green of young pine forests under mid-summer sun. Between them, smaller floes drifted about aimlessly, as though in some kind of trance. On the horizon she saw, thanks to Novak, a steep rise of endless white cliffs. This must be where the glaciers came down to the sea, where the icebergs calved. It was as alien a place as she had ever seen, more alien even than a science fiction film because it was right there, illuminated for her in the startling clarity of dazzling sunshine.

Which writers do you admire for the way they use location?

For Sean, Dickens immediately comes to mind: hardly a scene goes by that isn’t redolent of a life lived in it—stuffy banqueting rooms, Essex marshes, debtors’ prison… I admire Tim Winton who writes about his home state of Western Australia in such a way that I just want to jump on a plane and go there. He’s as comfortable describing what life’s like for the struggling poor living in beachside shacks as he is showing the reader what the inside of a wave looks like from a surfer’s point-of-view.

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Readers, if this interview has piqued your curiosity about Lambert Nagle and the Cubitts, we encourage you to visit their author site.

JJ Marsh grew up in Wales, Africa and the Middle East, where her curiosity for culture took root and triggered an urge to write. After living in Hong Kong, Nigeria, Dubai, Portugal and France, JJ finally settled in Switzerland, where she is currently halfway through her European crime series, set in compelling locations all over the continent and featuring detective inspector Beatrice Stubbs.

STAY TUNED for next month’s Location, Locution, with Carl Plummer, who lives in China and writes comic thrillers as Robert E. Towsie.

If you enjoyed this post, we invite you to register for The Displaced Dispatch, a round up of weekly posts from The Displaced Nation, with seasonal recipes, book giveaways and other extras. Register for The Displaced Dispatch by clicking here!

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BOOKLUST, WANDERLUST: 2014–2015 books recommended by expats & other international creatives (2/2)

Globe Bookshelf Part TwoHello Displaced Nationers! As those who caught Part One of this post last week will know, we are continuing the party we had at the end of last year in publishing a Best of 2014 in expat books list by soliciting various international creatives and other “displaced” contacts for more recommended books.

In Part One, several of my bookworm friends from a previous blog, Novel Adventurers, along with ML and JJ Marsh (JJ writes the Location, Locution column for Displaced Nation), revealed their favorite 2014 reads.

In Part Two, below, kicking off with yours truly, we talk about releases we’re hotly anticipating this year.

A “forthcoming reads” roundtable, if you will.

—Beth Green

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BETH GREEN: I actively search out books by Elizabeth George, the American author of the Inspector Lynley mystery novels set in Britain, and Elizabeth Gilbert, who achieved fame with her travel memoir, Eat, Pray, Love. 2015 is a great year for me as both Elizabeths have books coming out.

A_Banquet_of_Consequence_300s_coverA Banquet of Consequences (Inspector Lynley Book 19), by Elizabeth George, due out in October.
Synopsis: Lynley and Havers are drawn from Cambridge to London to the windswept town of Shaftesbury during one of their most complex cases yet: the murder of a feminist writer and speaker.
Why I’m excited: Though actually not in the “expat” realm, I have to confess it’s the book I’m most looking forward to reading. I’m a huge fan of George’s diverse characters and elaborate stories.

BigMagic_cover_300Big Magic: Creative Living Beyond Fear, by Elizabeth Gilbert, due out in September.
Synopsis: Gilbert digs deep into her own creative process to share her wisdom and unique perspective about creativity.
Why I’m excited: As some readers may recall, I reviewed her novel The Signature of All Things last fall for this column. It seems that Gilbert is now turning her hand to self-help/motivational books for us creatives. I’m intrigued, and I figure other international creatives should be as well.

Three other upcoming books, by authors I’ve not come across before, have also caught my eye:

Displacement_cover_300Displacement, by Lucy Knisley, due out February 8th.
Synopsis: A graphic-novel-style/comic-book travelogue reporting on a cruise ship trip to the Caribbean Knisley took with her grandparents.
What interests me: Even though I seldom read graphic novels, I’m curious to pick it up, especially given its title(!). Knisley has two previous travelogues in graphic form: French Milk (her six-week trip to Paris to celebrate a milestone birthday) and An Age of License (her all-expenses trip to Europe/Scandinavia).

Meet_Me_in_Atlantis_cover_300Meet Me in Atlantis: My Obsessive Quest to Find the Sunken City, by Mark Adam, due out in March
Synopsis: A few years ago, travel writer Mark Adams made a strange discovery: everything we know about the lost city of Atlantis comes from the work of one man, the Greek philosopher Plato. Then he made a second, stranger discovery: amateur explorers are still actively searching for this sunken city all around the world, based entirely on the clues Plato left behind. Adams decides to track these people down. He reports on what he learns from scientists and amateur historians who all share his curiosity about the facts and fiction surrounding the “lost city.”
What interests me: Count me in that curious group!

The Porcelain Thief: Searching for the Middle Kingdom in Buried China, by Huan Hsu (forthcoming in March).
The_Porcelain_Thief_cover_300Synopsis: The author, raised in Utah, goes back to his ancestral homeland in China, in part to look for porcelain and other treasures his great-great-grandfather may have buried before the family fled the Sino-Japanese War.
What interests me: As a former expat in China, I love anything about this part of the world, and this displaced family saga sounds particularly fascinating!


ML AWANOHARA: I am always on the lookout for books that could be of interest to the Displaced Nation readership. (Whether I end up reading them or not is a different matter!) I’m sure this is just the tip of the iceberg, but thus far in 2015 I have my eye on one novel and several memoirs.

First, the novel:

The_Art_of_Unpacking_Your_Life_cover_300The Art of Unpacking Your Life, by Shireen Jilla (forthcoming in March)
Synopsis: A million miles away from their daily concerns, on a safari in the Kalahari Desert, two women who were once best friends see if they can reconnect.
What interests me: We featured Jilla’s first novel, Exiled, on the Displaced Nation shortly after we started the site as we were curious to as to why, after her own expat life in New York City, she had produced such a dark, dysfunctional family psychodrama concerning a British expat family living on the Upper East Side of New York. (Her answer was extremely satisfying!)

As to memoirs, here are three that were issued in January:

Leaving_Before_the_Rains_Come_cover_300Leaving Before the Rains Come, by Alexandra Fuller (came out in January)
Synopsis: A child of the Rhodesian wars and daughter of two deeply complicated parents, Alexandra Fuller is no stranger to pain. But the disintegration of her own marriage leaves her shattered. Looking to pick up the pieces of her life, she finally confronts the tough questions about her past, about the American man she married in hopes of being saved from the madness of her early life, and about the family she left behind in Africa.
What interests me: I so enjoyed Fuller’s first memoir, Don’t Let’s Go to the Dogs Tonight, about growing up in a white family during the Rhodesian Bush War, I have come to think of her as a modern-day displaced heroine, or goddess: larger than life, an extraordinary mix of beauty and brains, out of this displaced world… (Hmmm… No wonder her marriage to a mere mortal didn’t last.)

Russian_Tattoo_cover_300Russian Tattoo: A Memoir, by Elena Gorokhova
SYNOPSIS: In her first memoir, A Mountain of Crumbs, Gorokhova detailed her life growing up with an iron-willed mother in Soviet-era St. Petersburg. In this follow-up, she escapes both mother and country by entering into an unsuitable marriage with an American. When her husband first brings her to live in Austin, Texas, the culture shock is extreme. He then ships her off to Princeton to live with his psychotherapist mother. There she meets her second husband and a happier future.
WHAT INTERESTS ME: Maybe because I lived abroad for so long and then had to readjust to life in the U.S., I identify very closely with immigrant stories. And for personal reasons, I’m always attracted to stories that revolve around the challenges of cross-cultural marriage.

Whipping_boy_cover_300Whipping Boy: The Forty-Year Search for My Twelve-Year-Old Bully, by Allen Kurzweil
SYNOPSIS: As a 10-year-old American shipped to a Swiss boarding school, Kurzweil endured a year of torment. Years later he set out to search for the chief bully, Cesar, who, it turned out, had gone to prison twice, having become a professional con man. In circling the globe to find Cesar, Kurzweil stands up for all who’ve been the victim of bullies.
WHAT INTERESTS ME: As we’ve always recognized on this site, some of us who are “displaced” have gothic tales to tell. Thank goodness in this case the villain picked on a man who was destined to become a world-class writer, hence able to exact an exquisite revenge.

Finally, I just now heard about another memoir whose title alone has me panting to know more: The Dead Ladies Project: Exiles, Ex-Pats and Ex-Countries, by litblog founder and book reviewer Jessa Crispin, who moved to Berlin in 2009. It’s due out in September; no book cover yet.


JJ MARSH, crime series author and Displaced Nation columnist (Location, Locution): I have a novel and a poem on my list, along with one publishing house.

A_Spool_of_Blue_Thread_300A Spool of Blue Thread: A Novel, by Anne Tyler (forthcoming this month).
Synopsis: It’s not an expat story but rather the opposite: a domestic family saga. The family, Whitshanks, have lived in Baltimore for several generations.
What interests me: Tyler wrote The Accidental Tourist (about the ultra-insular Leary family, who also live in Baltimore) and I’m curious.

“Sentenced to Life”, by Clive James (James, for those who don’t know, is an Australian writer and personality who has long lived in Britain.)
Synopsis: It’s one of James’s recent poems, published in May of last year, and can be read in full on her author site.
What interests me: I heard James on the radio talking about writing poetry about facing death and it humbled me.

I also look forward to whatever Galley Beggar Press puts out because they’re exciting and adventurous and try things other publishers will not. This strategy paid off with their Baileys Prize success of A Girl is a Half-Formed Thing by Eimear McBride last year.


The_Tutor_of_History_cover_300HEIDI NOROOZY, adult TCK, translator and author (@heidinoroozy): This year I’ve resolved to read more books in translation and stories from far-flung parts of the world. And, as I enjoy novels set in foreign locations that are told in local voices, I’ve got these two on my list:

The Tutor of History, written in English by the Nepali author Manjushree Thapa
SYNOPSIS: One of South Asia’s best-known writers, Thapa follows the lives of a variety of characters in the lead-up to local and national elections in a small town in central Nepal.
NOTE: This novel came out in 2012, but I haven’t gotten round to reading it yet.

The_Little_Paris_Bookshop_cover_300The Little Paris Bookshop, by the German author Nina George (forthcoming in English in June).
SYNOPSIS: Monsieur Perdu calls himself a literary apothecary. From his floating bookstore in a barge on the Seine, he prescribes novels for the hardships of life. The only person he can’t seem to heal through literature is himself…but will he manage to do that on a mission he takes to the south of France, with an Italian chef as his companion?
NOTE: I already read the novel in German. In Germany it spent over a year on the bestseller lists.


My_Fellow_Prisoners_cover_300KELLY RAFTERY, translator and writer: In 2015, I am looking forward to being able to read Mikhail Khodorkovsky’s collection of short stories entitled My Fellow Prisoners. Already available in Europe, it is due to have its U.S. release in late February. Convicted on thinly disguised, politically motivated charges, Mikhail Khodorkovsky went from being Russia’s richest man to a labor camp inmate in Siberia. In the decade of his incarceration, Khodorkovsky scribbled short sketches of the men he encountered, jailers and prisoners alike.


SUPRIYA SAVKOOR, editor and mystery writer: In the last roundtable, I mentioned having recently read two gripping memoirs: Not My Father’s Son, by Alan Cumming, and A Long Way Home, by Saroo Brierley. In 2015 I’m looking forward to more books that surprise me as these two did, particularly ones in which the new stories are intertwined with the old ones and make me see the grander scheme of things.


Rebel_Queen_cover_300ALLI SINCLAIR, world traveler and novelist (www.allisinclair.com): I’m a huge fan of Michelle Moran’s books and any book of hers is an automatic buy for me. Moran has an interesting story. Born in Southern California, she was a public high school teacher before becoming a writer, using her summers to travel around the world. It was her experiences as a volunteer on archaeological digs that inspired her to write historical fiction. Moran’s upcoming work, Rebel Queen, will be released in March. It’s about Queen Lakshmi—also known as India’s Joan of Arc because she stood up to the British invasion of her beloved Kingdom of Jhansi. The queen raises two armies—one male and one female—and they go into battle against the well-prepared British.

Moran’s books are rich in historical facts but the stories are so enthralling it never feels like a history lesson. Another reason I’m a fan is because she usually chooses the point of view of someone not so well known. For example, in this story the main character is Sita, one of the Queen’s trusted soldiers and companions, a device that serves to paint a less-biased picture of the more famous Queen Lakshmi.

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Thank you, ML, JJ and guests! Readers, do you have any further 2015 recommendations? Please leave a comment below. And then let’s get our noses back into our books!

Finally, please be sure to sign up for the DISPLACED DISPATCH, which has a Recommended Read every week. You can also follow the Displaced Nation’s DISPLACED READS Pinterest board.

STAY TUNED for next week’s fab posts!

If you enjoyed this post, we invite you to subscribe to The Displaced Dispatch, a weekly round up of posts from The Displaced Nation, plus some extras such as seasonal recipes and occasional book giveaways. Sign up for The Displaced Dispatch by clicking here!

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BOOKLUST, WANDERLUST: 2014–2015 books recommended by expats & other international creatives (1/2)

Global Bookshelf Part OneHello Displaced Nationers! Looking back at the our popular series Best of 2014 in expat books, published at the end of last year, I decided we should continue the fun at the start of the year—and managed to convince our redoubtable editor, ML Awanohara, that the pair of us should canvass our “displaced” contacts to see what they’d enjoyed reading from last year’s crop of new books, as well as books they’re looking forward to reading in 2015.

A “best reads” roundtable, if you will.

In Part One, which appears below, several of my bookworm friends from a previous blog, Novel Adventurers, along with ML and JJ Marsh (JJ writes the Location, Locution column for Displaced Nation), discuss their favorite 2014 reads.

In Part Two, a similar group of us will talk about releases we’re hotly anticipating this year.

Having already shared my 2014 faves in last year’s series, I’ll concede the floor to others, beginning with ML.

—Beth Green

* * *

ML AWANOHARA: Thanks, Beth. These days, I seem to be more of a collector than a reader (I simply can’t keep up with all the titles I hear about!). If you’ll allow me to bend the rules, I’d like to highlight five more 2014 books I’ve discovered since our Best of 2014 in expat books went live. While I can’t personally recommend any of these titles, I feel justified in presenting them as an addendum to our series.

I’ll start with these four “displaced” novels, listed from most to least recent:

IHaveLivedToday_cover_300x200I Have Lived Today (October 2014)
Author: Steven Moore
Synopsis: Having barely survived his Dickensian childhood in 1960s Britain, Tristan Nancarrow sets out on a journey that will take him through the alleys of London and New York, to the rocky shores of ancient islands, and on pub crawls in dark and gloomy ports. The book is a classic coming-of-age adventure.
Expat creds: Originally from England, Moore is a writer, photographer, traveler and part-time ESL teacher who splits his time between Mexico, Korea and the world.
How we learned about: From his blog, Twenty-first Century Nomad.

SleepwalkersGuide_cover_300x200The Sleepwalker’s Guide to Dancing (Random House, July 2014)
Author: Mira Jacob
Synopsis: This debut novel takes us on a journey that ranges from 1970s India to suburban 1980s New Mexico to Seattle during the dot.com boom. It follows the fortunes of the Eapens, an Indian American family dealing with tragedy and loss. Alternating between past and present, it shows the family’s transition from India to the United States. As one Indian critic writes, the story is “firmly rooted in an immigrant home, its peculiar methods and madness.”
Expat creds: Jacob is an Adult Third Culture Kid, whose Syrian Christian parents came over from Kerala, India, to New Mexico, in the 1960s. She now lives in Brooklyn with her Jewish American husband and son.
How we found out about: Recommended by Condé Nast Traveler as a book to read on a plane.

SummerattheLake_cover_300x200Summer at the Lake (Orion, June 2014)
Author: Erica James
Synopsis: An Oxford Tour guide, Floriana, a property developer, Adam, and Esme, an elderly woman who lives next door to a recent purchase by Adam, meet by chance and develop a lovely friendship, which takes them from the glittering spires of Oxford to the balmy shores of Lake Como. The story blends the tale of an old romance with a modern love affair.
Expat creds: James divides her time between living in Cheshire, UK, in a small rural hamlet and Lake Como, Italy, giving her plenty to draw upon in her books.
How we heard about: Pinterest.

TheBalladofaSmallPlayer_cover_300x200The Ballad of a Small Player: A Novel (Deckle Edge, April 2014)
Author: Lawrence Osborne
Synopsis: Lord Doyle decamps from the stuffy legal courtrooms of London to the smoky back-alley casinos of Macau, where he tries to capitalize on the ill-gotten gains that forced his flight from his homeland. But can he game the system at the island’s glitzy baccarat tables? With its expat angst and debauched air of moral ambiguity set amid the sinister demimonde of the Far East’s corrupt gambling dens, the book is an introspective study of decline and decay.
Expat creds: Lawrence Osborne was born in England and lives in New York City. A widely published and widely traveled journalist, he has lived a nomadic life in Mexico, Italy, France, Morocco, Cambodia and Thailand, places that he draws on in his fiction and non-fiction. His first novel was The Forgiven, which Beth Green reviewed for the Displaced Nation last year.
How we learned about: From Amazon.

Lastly, I have another expat memoir that was issued in 2014 and I think deserves a spot on our shelves:

FallinginHoney_cover_300x200Falling in Honey: How a Tiny Greek Island Stole My Heart (Sourcebooks, March 2014)
Author: Jennifer Barclay
Synopsis: Barclay first visited the tiny Greek island of Tilos, in the south Aegean, with friends, including a lover with promising prospects. In her mid-thirties when those prospects fell apart, she decides to reconnect with herself by returning to Tilos for a month and immersing herself in Greek culture, food, language, and dance. Emotionally healed and recharged, she returns to England, where she meets a man who wants what she wants, only to discover… (I won’t ruin it for you.)
Expat creds: Born in Manchester, UK, Barclay subsequently grew up on the edge of the Pennines—but has lived in Greece, Canada and France, with longish stays in Guyana and South Korea. She now lives mostly on Tilos. Notably, she previously produced a memoir about life in South Korea, amusingly titled Meeting Mr. Kim: Or How I Went to Korea and Learned to Love Kimchi.
How we learned about: Barclay’s “Gathering Road” podcast interview with Elaine Masters.


TheShadowoftheWind_coverJJ MARSH, crime series author and Displaced Nation columnist (Location, Locution): My best book of 2014 is The Shadow of the Wind, by Carlos Luis Záfon. All booklovers will fall hopelessly in love with this tale of a boy and a book he swears to protect after he is taken to the Cemetery of Forgotten Books by his bookseller father. Which of us could resist doing the same? Readers know how a story can act as a portal to otherwhere. This is the most perfect example, not to mention illuminating Barcelona in addition to the Franco dictatorship, love, loyalty and growth.


TheLie_coverHEIDI NOROOZY, adult TCK, translator and author (@heidinoroozy): One of the most remarkable and memorable books I’ve read recently is The Lie, by Hesh Kestin. Set in Israel, it features a Jewish human rights lawyer whose commitment to her principles is put to the test when her soldier son is kidnapped by Arab militants and whisked over the border to Lebanon. I love stories that explore the human spirit and are set against a backdrop of real-life events. The heart of this novel is the question of how far a mother is willing to go to save her child. Very chilling at times, heartbreaking at others and masterfully told overall.


PointofDirection_cover_300x200KELLY RAFTERY, translator and writer: In 2014, I loved Point of Direction, by Rachel Weaver. A starkly beautiful tale set in the Alaskan outback, it reads like a cross-cultural adventure. Most expats will recognize the feelings of culture shock, disorientation and unreality that haunt Anna, a woman on the run from her own ghosts. The sharp writing style perfectly mirrors the jagged mountains and rough seas that inhabit the novel as surely as another character.


SUPRIYA SAVKOOR, editor and mystery writer: I haven’t read many memoirs, but in recent months, I read two that blew me away. The first, Not My Father’s Son, by Alan Cumming, is a must-read, even if celebrity memoirs aren’t your thing or you don’t know much about this Scottish actor, now a dual American-British citizen based in New York City. NotMyFathersSon_cover_300x200Cumming, it turns out, is a genius storyteller, and he takes us on an extraordinary journey through two juicy family mysteries across four countries and three time periods. It is, in turns, emotional, tragic, exciting, suspenseful, and funny. The colorful cast of characters, with names like Tommy Darling and Sue Gorgeous, are real people. Along the way, you’ll learn all kinds of fascinating little tidbits, much of it cross-cultural, about genealogy, history, pop culture, language, psychology. Even Cumming’s anecdotes about his life as a TV and film star are surprisingly interesting, largely because of the author’s clear-eyed, honest wisdom. (I also highly recommend the audiobook, narrated by Cumming himself. Alongwayhome_cover_300x200 His lovely Scottish accent and intonations are an additional treat.)

A Long Way Home: A Memoir, by Saroo Brierley, is another great read. The story is simple but powerful: a five-year-old boy in rural India gets lost, is ultimately adopted to a family in Australia, then, as an adult, tracks down his birth family and reunites with them. How he pieces together his past and finds his roots is one of several beautiful mysteries in this small book. Loss and identity are obvious themes, but not just for the author. A truly unique story. (Side note: Modern technology is one of this book’s heroes.)


ASuitableBoy_coverALLI SINCLAIR, world traveler and novelist (www.allisinclair.com): I recently re-read A Suitable Boy by Vikram Seth. It was released way back in 1993 and caused quite a stir in the literary world as it was one of the longest novels ever to be published in English (1,349 pages hardcover). I first read it then, and, while it’s highly unusual for me to give a book a second or third read, every few years I return to this wonderful novel rich with Indian history, family saga, and a heartbreaking romance. It’s set in post-partition India and explores the political issues at the time (1950s), along with the Hindu-Muslim issues and the caste system. It’s quite an undertaking to read this book but I enjoy revisiting the characters I love. I am very fond of stories written by Indian authors as there is a beautiful style and interesting points of view I find appealing. There’s a sequel in 2016—I can’t wait!

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Thank you, ML, JJ and guests! Readers, have you read any of the above or do you have further 2014 recommendations? Please leave a comment below. And stay tuned for Part Two of this post, books to look forward to in 2015!

Finally, please be sure to sign up for the DISPLACED DISPATCH, which has a Recommended Read every week. You can also follow the Displaced Nation’s DISPLACED READS Pinterest board.

STAY TUNED for PART 2 of this post: 2015 reads!

If you enjoyed this post, we invite you to subscribe to The Displaced Dispatch, a weekly round up of posts from The Displaced Nation, plus some extras such as seasonal recipes and occasional book giveaways. Sign up for The Displaced Dispatch by clicking here!

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