Category: Cairo

The Sunset Assassin gets a cover makeover

I’ve just updated the cover for The Sunset Assassin using an image licensed by Shutterstock. Instead of editing the image with a graphics program, I used Shutterstock’s built-in editor, which is terrific for simple jobs involving a single image.

I’ve used a consistent format for all of the Siranoush Trilogy novels: A bleached sepia image of the city where the novel is set (Cairo, Valletta and Sydney) with the title in a russet serif font, and a dark sans serif font for the author and the text at the foot of the cover.

Here’s the back cover blurb:

Sydney, New Year’s Day, 1978. While the beaches teem and the cold beers flow, a clandestine syndicate is planning to overthrow the Australian government. They’ve commissioned dodgy businessman Kerry Rich to detonate a bomb at the Opera House on Anzac Day. He’s passed the job on to Pierre Farag, a reluctant British sleeper agent dumped in Australia. But Pierre and his wife Zouzou want out — out of Sydney and out of doing other people’s dirty jobs. Meanwhile investigative journalist Liz Lanzoni has got a sniff of the bomb plot and sees the chance to break the story of the decade. As the day of the blast looms the operation unravels, and Pierre, Zouzou, Liz and Kerry find themselves on the run to a hideout in the northern tropics of Queensland. Soaked in the hedonism and corruption of late seventies Sydney, The Sunset Assassin traces the fine line between loyalty and betrayal.

Let me know what you think of the cover. And check out my books here.

Creating Arabic-speaking foreigners in fiction

Introduction

I’m an academic linguist turned novelist, and my academic training has been tangled with my creative practice ever since I tried to write fiction.

This article began out of curiosity. After I completed a trilogy bristling with Arabic speakers, it occurred to me that I’d achieved the technical effects of making them sound foreign virtually on autopilot. I started drafting a blog post trying to analyse the techniques I’d used to create foreignness.

Around the same time, I was reading Cormac McCarthy’s fiendishly challenging The Crossing with its swathes of untranslated Spanish dialogue. McCarthy brought me up with a start: His treatment of foreignness was a universe away from my own.

I had to look more widely. I put my blog post aside.

The framework

I made a fresh start with an article called How authors create foreigners and foreignness in fiction, where I used examples from Philip Kerr, Michael Mohammed Ahmed, Agatha Christie, Cormac McCarthy and Ernest Hemingway to develop a framework of propositions about how authors create foreign characters in fiction. In summary, what I proposed was:

Foreignising is manifested in voice—that of narrator, author or character.

The purpose of foreignising varies according to voice.

Foreignising techniques include:

  • Foreigner talk
  • Untranslated terms and dialogue
  • Definitions, including: Explicit definitions, Implied definitions

With a set of propositions to hand, I was in a position to return to my trilogy. and to further develop the framework.

The Siranoush Trilogy

The trilogy comprises a series of stand-alone novels, Cairo Mon Amour, Bury me in Valletta and The Sunset Assassin, set in Egypt, Malta and Australia respectively between 1973 and 1978. Each novel is written from alternating points of view of the key protagonist Pierre Farag and several others, all in close third person. This allowed me to foreignise the protagonists’ inner thoughts as well as their dialogue. For the sake of simplicity, I’ll stick with Pierre rather than bringing in the other characters.

Pierre is a half-Armenian and half-Coptic private detective from Cairo. He is inadvertently entangled in an espionage plot during the Yom Kippur War, which launches him on a chain of perilous scrapes across the world, ending on a crocodile farm in remote northern Australia. I portray him as an Arabic speaker since I know quite a lot about Arabic (my Armenian is so poor that I remained silent on that dimension of Pierre’s linguistic world).

Dialogue, inner thoughts, and a hall of mirrors

Foreignising dialogue is relatively straightforward, notwithstanding the mental tricks the reader has to unconsciously perform: If the character is supposed to be speaking in a foreign language, the author naturally composes the dialogue in English, but may choose to play some tricks to make it sound Arabic-flavoured, Russian-flavoured, etc. But if the character is speaking in English, the writer might tweak it with some foreigner talk using nonstandard grammar, odd vocabulary choices or even spelling out an accent.

The fragile notion of ‘inner thoughts’ throws up its own exquisite dilemmas. I frame Pierre’s thoughts for the reader in English, but I tacitly ask you to suspend disbelief and assume they occur mainly in Arabic. But it gets more tricky: I’m asking you to assume those thoughts rattle around his head in perfectly formed Arabic sentences that happen to look like perfectly formed English sentences on the page*.

A hall of mirrors, indeed.

Voice

Based on the proposed framework, I firstly foreignise Pierre as character, typically through his manner of speech; and when he holds the current point of view, I foreignise him as  author, typically through his inner thoughts.

Character

Pierre is pedantically precise in his multilingual skills and restrained in his emotions—a man ‘closed in on himself’, who thinks carefully before he speaks. I often foreignise him by placing tripwires in his English competence. For example, in The Sunset Assasin, he travels to the remote Australian town of Broken Hill to interpret for a Syrian in a court case. But he is told on his arrival that the gentleman has “karked it overnight”.

“Oh dear,” Pierre said, disguising his puzzlement. Perhaps the police sergeant meant the Syrian had changed his plea. “Should I have a word with him nevertheless?”

I’m careful not make Pierre into a caricature through foreigner talk. The ‘bad Arab’ trope is so deeply entrenched in novels and films that I absolutely refuse to propagate it (see further discussion here) .But I justified a drop of foreigner talk in these examples from minor characters in Cairo Mon Amour, the first of which attempts to portray Russian being spoken badly by an Arabic-speaking Soviet Embassy driver:

“Comrade boss. Why Russian lady all go home?”

And in the second case, which depends purely on accent, an Arabic-speaking waitress repeats a customer’s order made in English:

“Tea wiz milk shocolate kek.”

Author

The locus of author is where the hard work of foreignising goes on in The Siranoush Trilogy. Here is Pierre in Cairo Mon Amour on the last ship to leave Alexandria at the outbreak of the Yom Kippur War. He hasn’t had much to do with Americans, and he is shocked at the behaviour of the fleeing US diplomatic staff:

Braying like donkeys, [the Americans] complained that they “only ever sailed in fucking first-class” or “wouldn’t stand for a fucking starboard cabin.” The very air was thick with the ugly English word. It was as if a race of civilised beings had reverted to savagery. The women, Pierre thought, were even more vulgar than the men.

In Bury me in Valletta, Pierre reflects on finding his arch-enemy Colonel Dimashqi confined to an iron lung. He inwardly reflects with baroque verbal ornamentation:

… was this an evil dish cooked up from British duplicity and Egyptian bald-faced guile? Oh, the tricks of la perfide Albion.

And here, Pierre experiences a Wimpy Bar for the first time in 1975:

He’d seen the English seated before these Wimpies through the window of the ‘Bars’ where they were purchased: Flat anaemic buns containing a strip of grey meat, next to desiccated yellow potato chips.

Numerous other examples of the author voice occur in the following section, where we turn to foreignising techniques. As we will see, the discussion will elaborate the framework set out in the introduction.

A learnable set of Arabic terms

I chose a small set of Arabic words—initially defined and then left in the original—for the reader to learn through repetition and prompts. Several of these occur through the entire trilogy, e.g. khawaga ‘foreigner’, bawwab ‘doorman’, shabkah ‘network’, sharmouta ‘bitch’. The whole set amounts to about ten words in total, with no more than eighteen instances of a word in any of the books—just enough in my reckoning to garnish the text without overloading the reader. The words bawwab and shabkah, for example, are part of an important plot device: Pierre’s work as a private investigator entails maintaining his ‘network’, which includes Cairo’s doormen, his eyes and ears on the city’s apartment blocks.

Here’s how I embedded an explicit definition into Pierre’s inner thoughts:

He had spent most of the previous evening consulting his shabkah, as Fawzi called it; well, you could call it a ‘network’ if the word adequately described the troupe of misfits, malcontents, blackmailers, and square pegs in round holes who fed him scraps of information, shreds of rumour and dollops of sheer spite.

There’s a really smart trick here (I modestly aver): shabkah in line 1 is the signal for us to pretend Pierre is thinking in Arabic; the quote marks around ‘network‘ in line 2 signal that the pretence is briefly lifted.

Sometimes I tutored the reader obliquely with an implied definition, again in those slippery inner thoughts:

And then what if the lawyers discovered that he had been keeping the sharmouta in luxury all this time? How would she bear the shame?

Zouzou Paris, a ‘bitch’? Well, she would say that. Everybody else did.

Let me round off my set of learnable Arabic words with ya’ni, the Arabic conversational filler roughly equivalent to ‘I mean’ or ‘you know’, which occurs about a dozen times in Cairo Mon Amour. Here I put it in the mouth of Major Fawzi, a man who relishes his prowess in the English language:

“My dear friend Pierre Farag,” he began, “has persuaded me that your situation presents opportunities for all of us to profit. We have ya’ni put our noggins together in your absence.”

“Noggins?” Bellamy wasn’t sure whether Fawzi’s quaint English was part of a sophisticated act or simply the result of a diet of Noel Coward and P.G. Wodehouse.

Well-known Arabic expressions

I also added a handful of Arabic expressions like In shaa’ Allah, inserted without translation in the hope that the reader will recognise them without help. Habibi and habibti, as Zouzou and Pierre address one another, fall into this category, occurring consistently untranslated throughout the trilogy.

Crosslinguistic puns

These can be pressed into foreignisation service if you’re lucky enough to find one or two. In Bury me in Valletta, Pierre and his wife Zouzou are involved in a conspiracy involving Stash, a political extremist who poses as a hippy; I have Pierre use the word khunfus (beetle) eleven times to describe Stash. It’s a colloquialism used in Egypt in the seventies, supposedly because hippies were associated with the Beatles. It comes in for some handy wordplay when Stash is found murdered:

“So the khunfus is a police informer,” Zouzou said. “Squashed like a cockroach.”

Cultural motifs

Soon after this remark, Pierre’s wife Zouzou has a glass of karkady, which by now the reader has learned is hibiscus flower tea. She yearns for a glass of this comforting drink at times of stress; the further the couple stray from Cairo, the stronger the yearning. I’d categorise this further as a cultural motif that pervades the trilogy. I had fun in The Sunset Assassin when a Sydney journalist visiting Zouzou mistook karkady for Ribena.

Another such cultural motif was kushari, the hi-carb Cairo street food; I used a kushari stall repeatedly as a meeting point; much more colourful that meeting at the Post Office! The reader’s tuition was delivered by an English speaker through an implied definition:

“As long as I don’t have to eat that horrible kushari stuff. If I have to make a run for it, I don’t want a belly full of lentils and macaroni.”

Unique Arabic words and phrases

Items occurring only once or twice in the trilogy were popped in with a definition when I felt I needed to remind the reader that the language in use is Arabic; I’m obsessively careful to know who is supposed to be speaking what in any piece of dialogue. This example is the sole instance of masri where I used an editorial definition to explain the meaning, and to confirm that Pierre is thinking in Arabic:

If anyone had bothered to ask him, “What are you?” he’d have said “masri”, ‘Egyptian’.

And in the next case, we have some brinkmanship between two Arabic-speaking British diplomats, this time with the implied definition tactic applied to a unique Arabic phrase:

“You’ve got some nerve. Bloody nerve, I’d call it. I don’t know why I don’t take you outside, point at you and yell gasus isra’ili.”

“Perhaps I am an Israeli spy, Don. Walk out the door and give it a try.”

And the following implied definition of a unique word occurred when Pierre’s nemesis Dimashqi asks Pierre’s forgiveness as he lies gasping in an iron lung. I have Pierre implicitly define bashar in his inner thoughts after the stricken Dimashqi utters the word in dialogue:

“I can offer a token of expiation.”

“There is no need. You have my forgiveness.”

“But still, we live in this material world. We are bashar, with debts to pay and accounts to be settled.”

Bashar– human? The man had lived the life of a devil. What kind of token could stand in expiation?

And here’s another tactic—a repeat definition of a unique expression, when the English version is uttered immediately after the Arabic phrase:

“Allah yarhamuh.” The woman looked away, and then said, “I had a son too.”

“He died?”

“Nineteen sixty-seven.”

“Allah yarhamuh, God bless his memory,” Lucy said.

Translated and repurposed Arabic proverbs

I threw in two of these for exotic effect:

“Ha! They whine about the breeze around their turbans, but what about the farts in their drawers?”

To quote the note background notes to Cairo Mon Amour, the ‘breeze around their turbans’ remark is my modification of an Egyptian proverb in J.L. Burckhardt’s Arabic Proverbs, (Curzon Press, 1994, p.3). The translation of the original reads, ‘If the turbans complain of a slight wind, what must be the state of the inner drawers?’

The second is my modification of another of Burckhardt’s proverbs. In the original (p. 114), ‘The owl has become a poetess’. I refashion this as:

“So with the help of his movie cronies the owl became an actress, as the old saying goes.”

I should add that Johann Ludwig Burckhardt died in 1817, so I’m not sure that the originals would be recognised in contemporary Egypt. But that’s not the point; the repurposed versions are an Orientalist-inspired strategy to add exotic flavour to the text.

Let me add one more related device, the translated foreign simile, an example being ‘as confused as an ant’. I think this works in foreignising the text simply because English does not use this simile.

Conclusion

I hope you’ve enjoyed this article. I haven’t set out to establish an exciting new academic subdiscipline that will bridge linguistics and fiction writing; I learned long ago that they don’t march in step, but they do have interesting encounters from time to time.

While I was writing this article, I was conscious that I had focussed solely on writing in English. I’d love to hear from linguists or authors about how languages other than English create foreigners. Let’s start a conversation.

I’d also love to hear more generally from other linguists who write fiction: Right now I’m the sole example I know!

*I should make it clear that the notion of ‘inner thoughts’ discussed here is not underpinned by psychological theories about inner speech proposed by scholars such as Vygotsky.

###

You can find details of my novels here.

Copyright © 2022 by Stuart Campbell

My new novel is set in Manly, Australia. Find out why.

Manly, Australia’s favourite seaside town, is a location spotter’s treasure trove. Sitting on a peninsula overlooked by the neo-gothic pile of St Patricks, the town is an architectural mish-mash of Art Deco shopfronts, Federation era cottages, glitzy apartment blocks, and brown-brick walk-up flats. In normal times, thousands of tourist take the thirty-minute ferry ride from Sydney to Manly wharf and amble down the Corso, the street that bisects the peninsula and leads to the ocean beaches. But behind the beachwear shops and restaurants lies another Manly, unseen by the tourists, that offers an edgy fiction setting.

Australia’s COVID-19 lockdown in April 2020 forced me off the seafront promenade into the empty back streets to avoid hordes of gasping joggers deprived of their gyms. But my walks opened up corners of the town I’d barely noticed. Soon my meditative strolls turned into location spotting for the novel I’m currently writing.

The Impeccables is set in Manly in 1978. Why Manly and why 1978? Well, the previous book in the series ended with the main character Pierre Farag exiled to Australia in 1975. I needed somewhere to settle him down for a few years before he finds himself unwillingly involved with a clandestine right-wing group that aims to blow up the Opera House.

And I love a writing challenge: I couldn’t resist the idea of reconstructing the look and feel of the town where I came to live in 1978 — an era before iPhones and credit cards, when the seafront was lined with pre-war blocks of flats rather than glitzy apartments. I’ve spent hours studying the 1978 Sydney newspapers and browsing the brilliant Lost Manly FB group pages.

To recap the series, the novella Ash on the Tongue, set in 1972 in Cairo, introduces Armenian-Egyptian private eye Pierre Farag and his first incursion into the world of espionage. In the full-length novel Cairo Mon Amour, Pierre and his actress girlfriend Zouzou are drawn into a plot to conceal the launch of the 1973 Yom Kippur War. In Bury me inValletta, we meet Pierre and Zouzou in exile in London in 1975. As sleeper agents they are reactivated by the UK government to sabotage an IRA gun-running plot in Libya and Malta. My current novel in progress The Impeccables, finds Pierre and Zouzou exiled to Sydney, where they are drawn into a plan to stage a coup against the Australian government. The novel ends again in exile, but this time to a remote spot in tropical Far North Queensland. I haven’t decided whether there will be a fifth book in the series; it depends a bit on whether I can find a plausible way to get the pair out of exile. I may have painted myself into a plot corner! In addition, I regain the rights to Cairo Mon Amour from my publisher in August 2021, which will give me the option to publish the series as single edition.

All three novels are based on carefully researched historical scenarios, and each includes what I call a ‘moral core’ for want of a better term: Cairo Mon Amour is in part my personal tribute to the resilience of the Armenians in exile; Bury me in Valletta is about the collapse of the relationship between a father and daughter; The Impeccables deals with the far boundaries of betrayal.

But what has surprised me is the development of the relationship between Pierre and Zouzou as its power balance shifts and the couple find new ways to bridge the growing emotional gulf between each another. I never anticipated this when I first put finger to keyboard. This presents another challenge for a possible sequel; are they headed for the divorce courts, or will the balmy tropical climate of Queensland soothe their angst?

But back to Manly. For The Impeccables I installed Pierre and Zouzou in a run-down rented house. It’s in a made-up street called Rialto Close in a muddle of walk-up brick apartment buildings and the backs of dry cleaners and TV rental shops, four streets away from Manly Beach. The name Rialto harks back to a former cinema in the Corso. The site is now occupied by a small shopping arcade, commemorated by the unglamorous Rialto Lane. My Rialto Close could be in any of half a dozen locations around the town, but wherever it is you might spot a dumped sofa.

Meanwhile, I’ve been honing my skills in book design. Right now, you can get a paperback of Bury me in Valletta through Amazon in the US, but there’s a big freight charge and a long wait for Australian readers. So, I’ve produced an additional paperback version with Ingram Spark, which is now accessible through thousands of bookshops and libraries around the world. I was thrilled to receive the proof copy in November — excellent production values, and the interior all designed by me. I incorporated the lovely cover designed by Rachel Ainge for the ebook. This new print version is now available, and I was delighted to get some US and UK sales immediately after the release date on December 1 2020.

Here’s a great customer review of Bury me in Valletta from a reader in Scotland: ‘Gripping from beginning to the end. Brilliant book and great sequel to Cairo Mon Amour. When is the next book of Pierre Farag, Stuart?’ And for an excellent independent review from IBR, click here.

You can find vendor links for my books here, including for the novella Ash on the Tongue, which is permanently free on Smashwords. The Impeccables will be released some time in 2021.

Five ways to create a femme fatale in your novel

noir, romance book, femme fatale, cairoThe Pierre Farag Espionage Thriller series is now a trilogy. Book 1 Ash on the Tongue is free to download here. Book 2 Cairo Mon Amour is published here, and Book 3 Bury me in Valletta will be published in early 2020.

If I were name my favourite character in the trilogy, the prize would go to  femme fatale Zouzou Paris. Here’s how to create your own Zouzou:

Give her a mysterious name

Just as Mata Hari’s real name was Margaretha Geertruida Zelle MacLeod, Zouzou didn’t start life as Zouzou. Her real name was Aziza Faris. Zouzou is an affectionate form of Aziza. It only needed a slight adjustment for Faris to become Paris* when she became a film star and decided to give herself some French mystique.

Give her a tragic past

Zouzou’s parents died in a car crash when she was eighteen. A friend of her father took her under his wing. “A peculiar variety of friend,” she said darkly, describing how the man had helped her into the film industry, where she became a plaything of his business friends. “It was sordid and exciting at the same time. The attention of rich men made me the envy of my fans. But while they envied me, they hated me too. It is the fate of women like me.”

Give her an ambiguous morality

Although she was known in Egypt as ‘the national bitch’, Zouzou’s lascivious reputation concealed a different morality. She remained a virgin until she was thirty-three. “A man may gorge on mango when all he has been given is boiled carrot,” she says, explaining how she tricked the old men.

Give her a quirky view of the world

Zouzou has spent her life negotiating deception and lies. “My whole life was a bargain.” Her instinct is to protect herself through obfuscation: “Why tell the truth when an untruth will suffice?” she often says.

Give her a distinctive speech style

Zouzou’s first language is Arabic, although we learn that she also speaks French and Turkish and probably other languages. When she speaks English, I give her a stilted and slightly florid style, e.g. “I had to go to many parties on yachts in Beirut … So many actresses, so many men with creeping hands. You see, sister, I cannot think of a yacht without remembering the caresses of those old fellows.”

Happy writing!   Stuart

###

*For Arabic speakers: Yes, yes, I l know this is cheating and that the vowels in Faaris and Baariis are different!  Let’s keep it bayni wa baynkum!

Cairo Mon Amour gets big surge from Goodreads

 

espionage romance thriller cairoAfter Goodreads giveaways in November, December and January 2018, word is spreading about my espionage romance Cairo Mon Amour. In total, 2597 people entered the giveaways, and 547 have the book on their ‘to read’ list.

I’m planning more giveaways this year, but if you want to skip the line, just click here to find out how to buy a copy.

Sincere thanks to publisher Austin Macauley for organising the December and January giveaways.

How I created my femme fatale

noir, romance book, femme fatale, cairoCairo Mon Amour started out as a noir novel. Whether it ended up as one, you can be the judge. But in the noir tradition, I needed a femme fatale, and that’s why I created Zouzou Paris.

She’s the childhood sweetheart of Pierre Farag, my Armenian-Egyptian private eye. But they’ve been long separated. The sweet girl he knew as a teenager on holidays in Alexandria is now a notorious film actress, protected by powerful men.

But she’s in danger, fearing that a high-ranking official wants her murdered. And that’s how she and Pierre meet again after nearly twenty years – she summons him to her private apartment to ask for his help. He sits agog as she levers off her luxuriant wig, peels off her eyelashes and wipes away the make-up: She’s no longer the hard-bitten Zouzou Paris, but the girl he knew as Aziza Faris, who fluttered her eyelashes at Pierre in their teens.

Well, with a reunion like that, how could I hold back? They’re bound together for life. But first I have to get them out of Egypt. I put them on the last ship to leave Alexandria when the Yom Kippur war breaks out, and then I follow them through France, where they are married – a condition that Zouzou imposes before she will allow Pierre into her bed. There’s a curious reason for her stipulation on wedlock, but you’ll have to read the book to know what it is.

We leave them in exile in 1970s London, both trying to negotiate a city of coin-fed gas meters, evil landladies, cambric bedspreads, and Dixon of Dock Green on the TV.

I’m fascinated with Zouzou – her volatility, her odd wisdom, the depth of her loyalty, her resignation to fate. I purposely didn’t give her a point of view; rather than writing from inside her head, I allowed the layers of her character to build through Pierre’s observations. My aim here -and I think it worked – was for Zouzou to be enigmatic and unpredictable.

A final word on her name: Zouzou is an affectionate version of her real name Aziza. But there’s a connection with a a film that was showing in Cairo around the time the novel is set: Khalli baalak min Zouzou, or ‘watch out for Zouzou’. In the movie, Zouzou is a college student who has to work secretly as a belly dancer to make ends meet – the nice girl with a shameful secret. How could I resist calling my femme fatale anything else? And of course, my Zouzou claims to be half-French, although nobody believes it. The surname Paris is her clumsy attempt at European sophistication, and it’s not so distant from her real family name Faris.

OK, I confess: I’m smitten.

***

You can buy a copy of Cairo Mon Amour here.

If you’re going to talk like a pirate, do it properly!

Do you suffer from bruxism brought on by poor pirate accents? I do: I grind my teeth whenever I watch the BBC TV show Doc Martin. If you’ve ever watched this program you’ll know that in the English seaside village where the doctor practices, all the locals speak Piratese, or as I sometimes like to call it Yokelese.  But more of Pirate language in a moment.

My real gripe as a finicky linguist is that TV and film so often handle language use so amateurishly. I often get into foetal position and weep when an actor playing an immigrant with poor English is given an inconsistent mishmash of lines where in one utterance they speak in ‘me no understand’ fashion, and in the next produce perfectly formed complex sentences dressed down with a silly foreign accent.

And don’t get me started on those war movies vere ze Chermans spik like zis! Make ‘em speak German and add subtitles, I say. The worst such example of this genre is the (for me) unwatchable Captain Corelli’s Mandolin, in which Nicolas Cage should have got an Oscar for sustained performance of high front vowels and trilled r’s.  Maybe he’d had tuition from an actor I once met at an audition whose résumé included the ability to speak English in twenty-five accents, including both Eastern and Western Armenian.

Arrr! That’s Piratese by the way, for ‘back to the topic’. In Britain and Australia, it is customary for actors playing southern English rural characters to employ a couple of pronunciation tricks such as modifying the ‘o’ sounds in words like ‘coat’ and changing the vowel in ‘eye’ to the vowel in ‘boy’. The principal trick, however is to rhotacise, i.e. (in simple terms) to pronounce most of the r’s indicated by spelling. So, where a Londoner or Sydneysider would not pronounce the ‘r’ in ‘hard’, a speaker of Piratese would pronounce it. Give it a try. If you have young children or grandchildren, you can copy Captain Feathersword of The Wiggles, who speaks quite good Piratese.

So why are my teeth a millimetre shorter than they should be? It’s because of the basic mistakes that Piratese speakers make. Why do I keep hearing actors saying things like “Hello GrandmaR” and “Where’s LouisaR?” where no ‘r’ exists in the spelling? Well, the reason is that they overdo a little rule that allows us non-rhotic speakers to pop in an ‘r’ when the next word starts with a vowel. So, while we don’t say the ‘r’ in ‘Here’s my car’, we can say it in ‘My caR is in the next street’.

OK, all clear so far. However, the brains and mouths of native Londoners and Sydneysiders wickedly conspire to play the ‘India office’ trick on us. Try saying this phrase quickly and not making an ‘r’ at the end of ‘India’.  No ‘r’ in the spelling – we just overextend the ‘caR Is’ rule to ease the transition between the last vowel in ‘India’ and the first vowel in ‘office’. Try it: IndiaRoffice.

Arr! What bad Piratese speakers do is push the rule too hard by sticking the ‘r’ on the end of words that end in a vowel but are not followed by a vowel: While it’s fine to say ‘GrandmaR isn’t here’, it’s a plank-walking offence to say ‘Here’s GrandmaR’.

If I can be shamelessly unscientific for a moment, we non-rhotics are like carriers of damaged linguistic DNA; a few centuries ago all English speakers pronounced all their r’s, until the effete London court gave them up and the fashion spread through the hot chocolate drinking classes. But not all our telomeres were degraded, and the vestigial ‘r’ still pops up here and there in the attenuated fin de siècle speech of Camden Town and Bondi.

I’m astonished that few people I’ve spoken to seem to notice these errant r’s, or, when the mistake is pointed out, care. But I do, which is, I suppose one of the burdens that we sad scholars of linguistics carry. For years I’ve struggled to answer the question ‘what’s the use of linguistics’ at cocktail parties, and I’m beginning to think that it’s to keep dentists in business.

###

Now, if I’ve sparked your interest in linguistics, have a look at my latest novel The True History of Jude, which has no pirates in it whatsoever.

A ringside seat under the kitchen table

War makes an irresistible setting for fiction, as the never-ending flood of WWII novels and movies shows. Gulf War thrillers are almost a genre in their own right.

The Yom Kippur War has its novels – Herman Wouk and Tom Clancy both weave stories around it. But I wanted to do something different – my novel set during the Yom Kippur War Cairo Mon Amour, is set in Egypt – not Israel.

I felt especially well qualified to write this book: I was a student at Cairo University when the war broke out in October 1973, and I had a ringside seat – or sometimes a seat under the kitchen table when the air-raid sirens went off.

If you can’t remember the main points about this particular conflict, Egypt invaded Sinai to reclaim land lost to Israel in 1967, and Syria attacked the Golan Heights. The conequences of the war included the 1978 Camp David Accords and the final withdrawal of Israel from Sinai in 1982.

What compelled me to write this book was the extraordinary lengths that Egypt went to in concealing the date of the attack. How did President Sadat keep preparations for a massive ground and air attack secret? And how could I spin a story of espionage and romance around this?

Details have emerged in memoirs and works of research: Hospital wards in Cairo were emptied under the pretext of epidemics in anticipation of floods of wounded troops; a military sports carnival was scheduled for the day of the attack; false stories were planted about the attack date. When I did my research, I found so many events that I could dramatise: The sudden evacuation of Soviet families just days before the outbreak of war; the last ship to leave Alexandria, crowded with Americans desperate to get away.

I also wanted to write a very human story, so I created a handful of flawed characters who all have a personal stake in finding out – or concealing – the date when the attack will be launched. We have a Cairo private eye of mixed Armenian and Coptic background; his childhood sweetheart who is now a notorious actress; a Soviet diplomat with divided loyalties; and two British spies who happen to be former lovers.

I made a decision to stick closely to the historical record: The chapters in the first part of the book follow exactly the days just before and after the start of the war. When the Soviet diplomat Zlotnik, drunk in his flat, hears the rumble of the huge Soviet aircraft flying in armaments, it is real; I heard them on that very night myself.

And I tried to capture the day-to-day atmosphere in the streets of Cairo, when, as a British student taking Arabic courses at Cairo University, I found myself in the midst of a populace that swung between elation at the first flush of victory, and distress as  the wounded began to stagger home.

#

An earlier version of the blog article appeared under the title  ‘The Middle East conflict that inspired Cairo Mon Amour’.

Why not sign up for my twice-yearly newsletter and get a free short story The Unmasking of Mr. French.