Sharing the I-phone

They were watching a YouTube video of a song from Guys and Dolls... Nice to know the classics haven't lost their magic.

A new slant on 'The Valley'

The new Vintage paperback edition of The Valley of Unknowing comes out just after Easter. This is the new cover, front and back (below). I don't know whether this photograph was taken in Dresden or not, but I do know it was taken in the former GDR. At my suggestion the figure in the foreground was 'enhanced' - which in this case means made to look less fat.

If only life could be Photoshopped as easily as a black & white photograph, we'd all be much better off. Or would we ...?

The Killing Fields of Sri Lanka

Watch the trailer for this upcoming feature documentary No Fire Zone. It reports on the mass slaughter of civilians by the Sri Lankan government in 2009 - a crime to which much of the world, including the UN, wilfully closed its eyes.

Well, it's about time they were opened. Tell your friends.

Five books for 'The Wall Street Journal'

Following the publication of The Valley of Unknowing in the United States, I was invited to contribute a piece to a regular arts column in The Wall Street Journal. In 'Five Best' writers describe five favourite books on a particular theme; in my case 'Life behind the Iron curtain'. Encouraged by the editor to delve deep into the dustiest recesses of the bookshelf, I came up with these titles, each one from a different part of the former Soviet bloc. In their very different ways they're all superb, and you can read why I think so in last Saturday's column here. Annoyingly, my copy of Sandro of Chegem disappeared years ago, and copies are now quite hard to find in the UK. Even my agent, whose knowledge of these things is famously encyclopaedic, was unable to remember the publisher.

Leo creates an Installation

But then we needed the table for lunch... So much for Ars Longa and all that...

Interview with a Siren

I recently did a Q&A with the up-and-coming American book blog Sirens of Suspense, which is run by the distinctly siren-like Chantelle Osman. Rather than focus on any one book, she was interested in looking at all of them, and seeing how they all fitted together. The result is below:

Unlike many authors with a historical bent, you don't specialize in one era. Your books are all very different, in both theme and location—pre-WWII Berlin (The Einstein Girl), Revolutionary Russia (Zoia's Gold), Communist East Germany (The Valley of Unknowing) — and require a lot of research. Tell me a little bit about what inspires your choices? Are these periods of history that have always interested you? Do you have a wish-list of places/times you'd like to visit with your work?

I don’t deliberately choose a setting, and then look for a story that will work there – at least not consciously. The premise comes first, and in developing that premise I will set the story in whatever times and places work best. That said, modern European history took up most of my studies at university, and I’ve retained an interest in the subject ever since. I guess that, for me, places like Berlin or Dresden or Stockholm are close enough to be familiar, and yet just far enough away to feel challenging and different. But if a good story idea came along that demanded a contemporary non-European setting, then that’s what I would write.

I don’t have a wish-list of places to use as a setting. It would be nice to have that degree of control over my literary destiny! But, as I said, I’m pretty much at the service of the story, and go where it tells me to go.

Your latest novel, The Valley of Unknowing, features protagonist Bruno Krug who embodies both the author's dream come true and worst nightmare. He garnered great fame and success with his debut novel, but has been unable to write anything half as good since. Was it emotionally challenging to put yourself in his shoes? Can you talk a little bit about creating Bruno, and also a bit about the political nature of creative endeavours in Communist East Germany?

The fact that Bruno is a novelist made writing about him more enjoyable for me that it might otherwise have been. I got to exorcise some demons, and to draw on my own experiences as a writer in developing his perspectives and attitudes – even though some of Bruno’s more literary reflections didn’t survive beyond the first draft! Bruno is in part a product of his childhood experiences (his most famous book is called The Orphans of Neustadt), and of German history; but his life as a writer also informs – or misinforms – his view of the world. In fact, Bruno can’t help but see his life as a living fiction; it’s almost the only way he can make any sense of it. (Some readers have pointed out that since The Valley of Unknowing is a novel, Bruno is right on the money, but I think you can be too clever about these things!)

Your father was an industrial chemist and your mother an officer in British Intelligence. What led you to the written word? Did your parents foster this love at an early age?

My parents were supportive of anything and everything I wanted to do; so it was always up to me. I was first drawn to the theatre, and it was in that area where I first tried my hand – very tentatively – at writing. I was at university then. I subsequently turned to prose fiction because working solo was really the only avenue open to me, my studies being over. Once I was on that road, I found it increasingly difficult to get off! Part of me still gets very excited, though, about the performing arts, because I love creative collaborations (at least, when they work!). I have co-written one play, which saw a number of successful fringe productions. I would write more, but I don’t think anyone would pay me to do it!

Every mystery/thriller author would probably kill (excuse the pun) to have a parent who was, for all intents and purposes, a spy. Is this as exciting as we all imagine? Did her work at all prompt the uncovering of secrets that is a common thread in your books?

For much of her career in intelligence, my mother worked alone behind the Iron Curtain without the protection of diplomatic immunity. This was highly unusual, especially for a young woman, and I think it was exciting for her, although not infrequently frightening as well. However, her story only became known to me when I was an adult. I suppose it is possible that years of obvious tact, and a certain guardedness about the past, may have influenced my outlook subliminally, but I’d probably have to go into psychoanalysis to know for sure! Certainly I am drawn to characters who don’t wear their hearts on their sleeves. That much I can say.

Earlier in your career you collaborated with mystery writer Gary Humphreys for a series of books under the name Patrick Lynch which focused on developments medicine and biotechnology. Unlike those forward-looking novels, your more recent work ties to the past. What prompted this change?

I’ve always had an interest in science – another family trait, this time from my father’s side. The six Patrick Lynch novels were all built around nightmares; dramatic and disturbing events made possible by the advent of new biotechnologies or by Man’s (witting or unwitting) impact on the natural world. They were carefully researched and quite journalistic books. When I began to focus on my solo work, I suppose I was probably ready for a change of mood and a change of scene. Contemporary Sweden and revolutionary Russia were what came along (in Zoia’sGold); and that pretty much suited the bill. More historical novels followed from that, although The Valley of Unknowing, being set in the late 1980s, does not strictly qualify as ‘historical’ by the most common definition. I’m quite happy about that, actually.

What's coming next for you?

I have two writing projects for the New Year. I’m going to start drafting a book set in the immediate aftermath of the First World War. The starting point here has been some largely forgotten - but I think extraordinary – aspects of the conflict, and it’s going to be taking me into some dark territory. I may also be collaborating on a big screen adaptation of my previous novel The Einstein Girl, which was optioned last summer. It’s more than four years since I worked on that book, and the prospect of helping craft a screenplay is very enticing.

Casting call

I'm definitely not one of those writers who think much about how their work might unfold on screen - not unless I'm actually writing a screenplay (in which case, it's pretty much all I think about). Novels and movies both tell stories, and both usually contain dialogue, but that's where the overlap starts to run out. It is not the ultimate accolade of a novel that it be adapted for the screen, let alone that it be adapted successfully. For a novelist the undertaking can be fascinating and lucrative, but its success or failure usually has very little to do with the original material - and therefore very little to do with its creator.

Nonetheless, when the My Book, the Movie came calling, I couldn't resist the temptation to play producer for twenty minutes. The popular blog, which has been running for more than five years, asks novelists to 'dreamcast' the leading roles for a fantasy adaptation of their latest book, in this case The Valley of Unknowing.

As most real producers do, I started with the director, fixing on the rather in-demand Alexander Payne, whose recent credits include Sideways, About Schmidt and The Descendants. Well, I reckon if you are going to fantasize a perfect world, you might as make it as perfect as possible.

Who is my ideal Bruno Krug? The truth is, I don't have one. The character already exists in my head, and I doubt that any perfect embodiment could ever exist outside it. On the other hand, there are some very talented actors out there whom I'd love to see having a go. Actors, especially great actors, always bring something all their own to a character. It's that sense of an extra dimension that makes the exercise thrilling for the original author, provided he has an open mind.

The whole fantastic exercise is here.